The main artistic features of the tales. Genre features of tales of the 19th century. How to revive a tale like a fairy tale

From childhood we know Krilov's tales. Mindful, light, wise vіrshi sink into the soul. Morality - and there is a presence in the battles of obov'yazkovo - giblets will be conquered, and the power of yoga is great. Tell stories to be honest, love the Batkivshchyna, work for the good...

In a strong leader, weakness is guilty. The tale "Vovk and Lamb" (1808) begins with this viraz. Ivan Krylov's tvir itself was written following a mandramatic plot, popular among the world's literature, to which the naive baikars of the sveta were stunned: Aesop,...

Krylov leaned to the Russian educators of the XVIII century, on the top of the Radishchev Bov. Ale Krilov did not grow up to the idea of ​​a rebellion against the autocracy and that power. Vіn vvazhav, that it is possible to improve the suspіlny ustrіy with the path of moral rewiring ...

Podії Vytchiznyanoi war we got into the fight “Crow and Kurka”. Tlumachennya її admissible in two ways: you can think that the Crow, which was lost from Moscow at the hour of the entry of the French, is Napoleon. The emperor, like a dream about great glory and zdobich, “having caught, like a Raven ...

In the tales of Krylov - they will sing the names of the Russian people, yogo life dosvid, folk wisdom. Behind the words of V. G. Belinsky, the tales hung “the whole side of the Russian national spirit: the Russian practical mind ... with good teeth, like they bite more painfully. They have...

The great Russian biker Ivan Andriyovich Krilov wrote a lot of his tales in traces of specific historical backgrounds. A hot vіdguk was known from yogo creativity Vіtchiznyan vіyna 1812 to rock. Dekilka tales were dedicated to the most important podias. The participants themselves...

Krilov turned to the tale like to the most popular, most innovative genre. If yoga was energized, why do you write tales yourself, Krilov vіdpovіv: “They are the minds of the skin: read yoga and servants and children.” The story has long been a genre, especially close to folk poetry and mav mіtsnu tradition in Russian literature. The connection with folk sayings, those orders, simplicity and clarity of images, folk wisdom and morality - everything was troubling the tale especially loved by the people. Krilov's satire, though covered up with a tale of tales, more painfully and clearly countered the inconsistencies and inconsistencies not only of a modern-day bastard of the household, but of a suspenseful arrangement based on private power and sternness. Satirical tales of Krylov’s tales were directed against evil, slander, non-government, greed and mutual responsibility of everything state apparatus. Political sensation tale of Krylov maw on Griboyedov’s uvaz, if he knew the shahrai and the informer of Zagoretsky, the victorious force:

“... And the yakby, between us,

I was the censor of appointments,

On the bikes would be taxed;

oh! tales - my death!

Eternal mockery of the lions! over the eagles!

Who do not tell:

Wanting creatures, but still kings.

Krilov's slandering over the Lions and the Eagles had a particularly concrete, sometimes topical character, which, however, did not allow for the tales of a vague, typical meaning. The warriors have a system of tensions, allegories, as they call themselves “Ezopivskaya mine”. "Ezopovska Mova" served the purpose of masking satire. Krylov called “tell the truth” “napіvvіdkrita” - “let’s remember that the truth is more bearable than napіvvіdkrita” (“Vovk and the Fox”). The reader is rozumіv miraculous, scho fables Levi and Vovka, Osli and Lisitsa are not abstract allegories and not kazkovі zvіrі, but concrete historical diyachі. Ale on the right in the fact that the satirical zagalnennya in krilіvskih tales is much wider, lower and actually furnished, as if they served as a post for the creation of these chi іnshoy tales. In the very latitude of the satirical address, in the political hospitality of the baits' food, it was laid down for the long time "Kryliv's satire, the inexhaustible life of yogo fable images". A solitary, concrete fact is quickly forgotten, as if zagalnyuyuchy, typical zmіst i znabuvayut daedalі novі zastosuvannya.

Krylov is invariably on the side of the humiliated people, defending him against the violence of the noble classes, the strong and greedy rulers of life. The warriors of "Vovk and Lamb" can say directly:

“A strong leader has no strength, he is guilty!”.

The fearful and weak Lamb grows up to win Vovka only to that one who is hungry:

"Oh, what am I guilty of?" - “Move! tired of hearing.

Allow me to sort out your fault, puppy!

It’s already your fault that you want to eat me.”

Tsey unfair “order”, lawlessness and violence that is happening over the villagers-kripaks, the people, Krylov repeatedly sharply sued and victorious at his stories (“Vovki and Vivtsi”, “Village and River”, “Strokatі vіvtsі” and іn.). However, visibly lawless, hizhatstvo in every way, as if squeezing the strangled people, Krilov did not care about getting out of the situation, respecting that the protest was impossibly and aimless. Ironically over the liberal initiatives in a row - call a gathering of animals, to ask them about Vovka, who asked in sheep's old age, Krilov added, that the sheep thought about Vovka at their gathering and "zabuli" ask ("Mirska Skhodka"). Krylov from tsієї tales to rob a pessimistic, sumny visnovok:

“What order is no windings,

Ale, yakscho vin in the hands of soulless people,

Get ready to know tricks,

To robit there, de їm to be lured, secrecy.

Krilov's mind that that lawless injustice is not only the result of the "unbridled" political system, bewitched by the king himself. She had a lot of pungent and funny tales about the Tsar-Lev, which clearly impinge on the activity of Oleksandr I himself. Such is the first for all the tale "Rib'yachiy dance". The warriors tell stories about the king-Levi, who possesses skargi for lawlessness, what is happening in this state, having lied himself to misunderstand the rules in the field.

“Vid skarg on suddiv,

On the strong and rich

Leo, walk with patience.

Having set off to look at his own Volodinnya.

The man-head, like a judge of you according to the price, climbs on a fermented bagatti to feed the ribs, wielded by him from the water. To Lev's question about those who rob wines, the headman impudently replies:

"Almighty king! - said the Man, grinning, -

I am the headman here over the water people,

And tse foremen, the inhabitants of the water;

We got here

Welcome you here when you come."

Luckily, the memory of old age on the floor pleases the king-Lev, who doesn’t remember wines, what ribs in a frying pan writhe in pain. Having succumbed to the old age’s svavilles, who dealt with the “watery” people in their own way, the Tsar-Leo did not sue the wickedness of his power, instead I trusted the false promotion of old age, who praised his “turboti” about the consumption of the people ”) and instill insolently stverzhu, scho ribi “in the form of joy, having pumped you, dance”! As a result, Leo, "licking" the headman graciously in the chest, "violating the distant path." Tse otruyne despised us before Oleksandr I, the lover of raising the price of Russia, so blindly trusting his proteges, us before Arakcheev. The very imitation of the emperor became the reason for the fencing of stories from the side of the ranks of the kіl, as if they thought the story to overthrow their story with them, so that Leo appeared in him as a just dbaylivtsy to the people. Ale sens tsієї tales (in the її first edition) richly broader than Oleksandr I.

In the warrior "Strokatі vіvtsi" Krilov, with no less irony, depicted the very same Oleksandr I, who denounced the tsar's intrusion and hypocrisy, who attacked freethinkers in the same hour hypocritically and hypocritically turned his mind to his own share! Tsya bike, through the tensions of a political character, was not instructed for the life of Krilov.

Vikriyvychi Svaville I Zhorstoka of the self -universality of the king that is a close, Krilov Tim Shonaymen, who was opposed to the Himself, opposed the monarch, get stuck in the positions of the glory, thinking, and the monarchs are more than his rosema. The inviolability of the basic method of government, the possibility of more than one degree of self-study and enlightenment - in fact, such is the political program of Krilov.

It is especially clear to speak about Krylov's rightful appointment to power in the tale “Toad, to ask the king”, included in the collection of tales of 1809. Krylov expressed his profound skepticism of the imperial power and the possibility of political changes. Adzhe to the change of the "rule of the people", like a toad was dissatisfied, with messages from Jupiter the king-chump. Ale and the tsar-chump without a bar "bored" the toads with their lagіdnistyu, and the stench again began to ask the king "for glory." The new king is Zhuravel, who, having become to eat them without parsing, appears over it and twists:

“Do not love spoiling your people;

There are wines; and on the court of yoga

No one is right.”

On the new blessing of the toads vryatuvati їх in the presence of such a king Jupiter vіdpovіv:

“... What did you say about the Tsar to me?

Have you been given a King? - so that boo is too quiet:

You rebelled at your Kalyuzh,

The second one is given to you - so the other one is dashing;

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

Such a pessimistic visnovok, like the Krilov came, having become enchanted by the possibility of a fullness of the power system. Wanting to take the plot of the story from the same story of La Fontaine (as far as Aesop's story), Krilov richly went over it, adding a number of hundreds of details, which accurately paint the behavior of the new Tsars, and so on. Such a hopeless look of the bike at the possibility of political changes. Not a trace, obviously, leading me to distrust social changes in the philosophical concept, but she told us about Krylov’s reconciliation and the need to tolerate power, so that “it wouldn’t be worse!”.

Vitchiznyana war of 1812, the heroic feat of the Russian people, which, having smashed the foreign garrisoners, called out a wide succession. In the atmosphere of this occasion, the creativity of the great Russian baikar, who was a leader of the people's spirits, developed. On the eve of the winter of 1812, Krylov's creation of such tales, like "Vovk in the kennel", "Crow and Kurka", "Rozdil", "Pike and Kit" suffocated the fate.

In the warriors of "Vorona and Kurka" Krylov mercilessly wielded scumbags, quiet "raven", as their own peculiar interests were put more for the interests of the fatherland. At "Rozdili" he was sentenced to hisism and baiduzhist to sleepy, do the defense of the homeland. “Honest merchants”, as if they were running across the yard of barishivs at that hour, if they had already hobbled the whole house, - such are the representatives of pan-classes in the depiction of the biker, as if they forgot about the nebezpeka, as if they were threatening the fatherland. Turbot about the special vigoda Krilov opposes the readiness of the people to work together smartly.

The warriors of “Vovk on the kennel” have a more patriotic feeling, the readiness of the people to fight against the enemy until the end, which, having treacherously attacked the fatherland, they knew the truth epichne viraz. Krylov, inadvertently and playfully, draws a picture of a friendly vorogov, showing the pardon of Vovka, who thought he would drink until the kosha, and spent it on the kennel. In the description of the roiling of the kennel, a picture of the ignominious people's movement, the partisan struggle of the villagers from the enemy, is conveyed. At the same hour, Krilov showed the evil approach of Vovk-Napoleon, as he understood that you should not be repaid for your evil deeds, and he urged peaceful negotiations. Here we will talk about the factual approach - Napoleon's sending to Kutuzov's camp. great ambassador at Russia's Lauriston for peace talks.

With his tale, Krilov gave an acknowledgment in the name of the people to Napoleon’s attempts to escape the inevitable payment, to turn against the people’s anger. To this is the image of Lovchey-Kutuzov, who, after having negotiated and replaced the one who, having lowered on Vovka, will play the hounds, having gained a great character. folk hero, again goodness and masculinity.

The patriotic pathos of the Krylov tales, dedicated to the podias of the Vitchiznian war of 1812, is especially close to us. On the eve of the Great Vitchiznyanoi war with Hitler's zagarbniks, Krylov's rich tales were staged and paraphrased a hundred and fifty times today's podias. A low number of political cartoons of fascist thugs appeared, in which texts and images of Krylov's stories appeared

The warrior “Bjola and Flies” gave a tale to the aristocratic cosmopolitans, let’s let the “flies” roam, as if to give the priority to the “foreign lands” of their fatherland. We oppose them with modest, practical “bjil”, as they honestly practice for the benefit of their people:

“Who works with the hardness of the widowhood,

It is not easy for one of them to be separated;

And who is the brown buti of the building consolation,

Someone else's beck to that zavzhdny reception ... "

Krylov, standing on the sidelines of the uninterrupted political struggle and the revolutionary activity of the Decembrists. Ale, in his tales of wines, was repeatedly observed, even in an allegorical form, on the most important and most important food of the present.

At the warrior "Razor" Krilov, languishing on the verge of 1825 rock, talk about those camps in which the best, foremost people of the era stumbled, and we were ahead of the Decembrists, thrown overboard at that hour, as the stench could bring the country's majestic melancholy. The fate of N. Turgenev, A. Bestuzhev and the impersonal others was guessed by Krilov, when he wrote:

“I will explain to you my discourse, I am ready:

Chi is not so rich, even though it's shameful to know it,

From the mind of people - to be afraid.

Do you want to endure bad people with you?”.

The tale "Bulat" was written after the introduction of General Yermolov, a popular hero of the war of 1812, suspected by Mykola I of having ties with the Decembrists. Yogo share and maw on Krilov’s uvaz, languishing on uvazi under “damask steel”, zanedbany at the “spring motlokh”, a talented commander and sovereign fiance. In the handwritten version of the tsієї, the tales had rows, yakі were directly placed before Mikoli I:

“Who, himself people to the great rights of peoples,

I didn’t have a moment to understand why I am attached. ”

Krylov, until the end of his life, took a negative position to the king of that noble upper class. For this reason, the symbolic meaning of the May 1st (written by him in 1834) of the tale "The Nobleman", repeating in love the motifs of his early satire, blasting away the empty-handed and obmezhenny tsar's satrap, for which the secretary will do everything.

Uryadovі stake, through the official "patron" of the bike, that yogo without intermediary chief O.M. Olenina, stubbornly, albeit arrogantly, lashed out, so that Krylov's tales did not sound political, oppositional motives, shouting to the orders that are being planted, orders. About his gloomy share of the "nightingale", which is known in the church under the eye of the "bird", Krilov himself spoke with the warrior "Nightingale". We can speak with bitter irony there about the Nightingale, who “tightened” his “evil part” with him, who became famous for his singing:

“And my bidolakh Nightingale,

Chim spіvav priєmnіshe and nizhnіshe.

Tim guarded yogo shіlnishe.

With the words of harsh irony, I ended Krilov's tale about his joyless share of swearing.

It would be wrong, however, to confine Krilov's tales to just a few specific facts and facts. Navit in quiet situations, if tsі facts and z'appeared as a post, a drive for the creation of stories, її zmіst, її image, as a rule, richly wider, lower fact, which nastovkhnuv baize on a given plot. So, for example, the striking sensation of the Quartet tale is richly broad in the form of a cob drive and written - for the sake of sovereignty. Krilov ironically demonstrates the ineptitude of being a bureaucratic organization, failing to cope with what is being unlit and incompetent, vikonavtsy.

With all the specificity of the characters, the presence of rich historical prototypes in the basis of them, the fable images of Krilova Tim and Chudov, who are immeasurably broader.

In the image of the tsar-Leo, Krylov instilled a type of figure of a zhorstogo and hypocritical autocrat, who called to flattery and servility, to create a “judgment” and reprisals against the ruling court. These figures are especially reinforced by Krylov in such tales, like “Lion and Vovk”, “Lion on the catch” and others. Levi, Vovka, Foxes, Pikes - greedy and unsafe huts, in such a lack of life for a modest worker. These officials, courts, punishments are zavіdomі swags and dashing, dishonorable scumbags, like robbing and oppressing the people.

In the warrior "Vedmid u Bdzhil" Vedmid is a great official-bureaucrat, who steals from the door and shamelessly. You know your strength and lack of carnity well, and you don’t care to instill “delicacy” and hypocrisy for the sake of it. To become youmu and Vovk - greedy and rude hut, really, really, bad. Tse cynical bureaucratic grabber, but with a rank of lesser and more fearful. In such bikes, like "Vovk and Target", "Vovk and Zhuravel", "Vovki and Vivts", "Vovk and Lamb", "Vovk and Fox", "Vovk and Kit", "Vovk and Zozulya", through the door of a greedy hut, unscrupulous in the backyards, impudent, self-sung, and at the same time fringed.

The second on the right is the Fox, which is traditionally said by the people about the hypocritical and cunning hut. In the image of Lisitsa Krilov, you sound like a cynical court official, or a smart and quick-witted courtier, who does his own specialty well, who loves to profit on someone else's bid. Insinuity and forestry in such a carier and greed will come together to shove a stone near the water, to be left without a carnage. Such is the Fox in the tales “Peasant and Vivtsya”, “Lion, Sirna and Fox”, “Fox-Budivelnik”, “Peasant and Fox”, “Vovk and Fox”, “Strokati Vivtsі”, “Fox and Marmot”. The warrior “Fox and Marmot” Lisitsy, with particular emphasis, has the rice of a punishing, court official - a hypocritical greedy lover and a scribbler.

The originality of Krylov's tales lies in the fact that they combine in images of animals of rice, which are like representatives of the creaturely world, with these typical characteristic powers that make people laugh. In this subtle manner, in the realistic veracity and integrity of the skin image, the miraculous craftsmanship of the bike is reflected. The characters of the yogo bike are Levah, Vovkakh, Lisitsyakh, Donkey skinny. - invariably looking through their natural animal cob, and at the same time the stench is endowed with these typical human rices, as if in their “animal” image they appear especially sharply and satirically sharpened.

The greatest concreteness and virtuosity of the Kryls is at the reach of tales, such as people. Such tales, like "Dem'yanov's Vuha", "Two Muzhiks", "Peasant at the Bidі", "Peasant and Practitioner" and many others, convey Nekrasov's realism with their realism.

Showing representatives of the pan-classes, Krilov even subtly and deeply reveals the social side of his character, his psychology. Thus, the warrior “Miron” has the hypocrisy and the holiness of Myron – the hypocrisy of riches (“The new one has a million in the screen”), who wants to “acquire good glory”. At his hypocrisy, I’m ready to go away, to piss about the poor, but to work for my greed in such a way that I didn’t mess with anything.

In the warrior "Bidny Bagach" Krilov conveys the psychology of aimless accumulation, crazy gold spruce. The hero of the tale is back to back, while still being a bіdnim, mirkuє sensibly and healthy. But from that moment, if you are addicted to hoarding, addiction, to go over to the headless and headless sprug of gold, you will be freed from any critical setting to yourself and vanishingly and die in the wrong-resht bіla buy chervontsіv. In this description of the character there is no alegorism, even though the whole sensational tales are allegorical, the image of the “poor richness” grows to the point of confusion, showing real, psychologically accurate rice.

At the boy "Mishok" Krylov creates the image of bagatia-viscos. The empty Mishok was grimacing with a blatant znevago - “of the lowest servants of the wine, for rubbing it, it often winked.” Less pennies, chervontsі, like wines for a happy mood, “stuffing” appeared, to give you a vag and meaning - “having fallen on the honor”.

Krilov miraculously in short, stingy assessments shows the life of truthful, typical characters. In the warrior “Razbirliva is named” Krilov conveys the sly and cunning nature of the named with an over-the-top controversy. "Primkhliva" beauty is not just primkhliva, she presents the name of the grand singers of the vimogi, who are based on the unwritten code of the svіtsky stake, in which the very school looked like a vigidna favor. For the “beautiful” Krylov, just like for її numerical girlfriends, to bring “known” grooms “not grooms, but wives”:

“The one with the ranks, the other without orders;

And that bi in ranks, that Skoda, empty swarms ... ".

Krylovska is named not only “disaggregated” by her material powers, but “vibagly” by the same way, because she means naming, “to love її, but not to be jealous”, so that there is freedom in the presence of any moral goiter .

In the tales “Peasant and Snake”, “Peasant and Fox”, “Peasant and Ken”, “Gardener and Philosopher” and other Krills, they do not give any hint of a specific image of the Peasant, protekreslyu in a new pratsiovity, valor, statism, healthy mind. In the mouth of the Peasant, you yourself put true, positive morality, sound to rob Yogo as a spokesman for folk wisdom, and not as a comical character, like the baikars of the 18th century.

For all the socio-historical specificity of Krylov's tales, the significance of the creation of tales by him goes far beyond an hour. Yogo Vedmedi, Lisitsa, Vovki, like officials and grandees of the Krylovsky hours, stink to take revenge on their own characteristic risi, like it’s more like an epoch, if the stench is created. Figures against steel, treachery, clergy, hypocrisy and other social and moral vands, carrying such stench, power to people of different epochs, different social structures. And even for the minds of our socialist mode, they were saved as remnants of the past, those moral deficiencies, against which Krilov fought, creating his stories. Tsim and the post-yna life of yoga images is explained.

It is not without reason that such friendly laughter is heard by the hearing talents of Igor Illinsky’s victorious “Troezhentsya” and “The Elephant and the Pug”, in which to sing not just the pieces of classical literature, but also bake irony at the address of quiet, who repeat some of the critiques of the characters.

Ale, in his tales, Krilov speaks no less than a satirist. So, as a fault of vihovaniya on the principles of enlightenment of the XVIII century, on the reconciliation, which can be corrected by the poets and satire, suspіlstvo vihovat, yoga tales always have morality. In a number of behaviors, life has been relieved, realistic farb, and even the tale is transformed into a didactic world. Such inanimate, didactic tales were most often blamed, if the baikar wrote under the plea of ​​the need to bring his benevolence, and also with artistic failures (“Godless”, “Divers”, “Kin and the Vershnik”, “Creator and Rosebіynik”).

Krylov vismіyuvav lynоshchі, ledarstvo, marnoslavlstvo, bragging, arrogance, ignorance, hypocrisy, greed, fearfulness - all those negative energy, which are especially hated to the people. Nechuvan scourges not only those who like to profit for the rahunok of someone else's work, but also all the lords and roses. Here is the nearby Trishka, who blindly recut his kaftan (“Trishkin caftan”), and the turbine-free Melnik, at whom “the water of the rowing got wet”, and the witch, who was not old to brown, who stocked up “an indefinite amount of wood, birch and elm”.

These images take care of all their significance and satirical poignancy even in our hour, tearfully osmіyuyuchi not far away lads and nerobs, as if without a turbot lie down to the people's bathhouse. Dribnitsy will be pobutu, the characters and especially specific narration of modern farb shatter Krylov's tales with works of realistic art, even though the tales are surrounded by genre frames, which is one of the favorite genres of classicism. Taking the fundamental, structural features of the genre and encouraging tales, її didactic straightening, subordinating the real and allegorical cob, moralistic straightening. Krilov at once finished її abstract rationalism, її schematicity.

Morality in Krilov is not abstract, hourly wisdom, but what is blamed for practical suppleness, from a specific life situation. The axis of the tale about baiduzhіst to someone else's bidi is "The villager at the bidi". Have tsіy baitsі ket nі povchalnyh mirkuvan, nі abstract moralіzuvannya. Peresіchny zhittєviy vipadok laid on the basis. Autumn night, the peasant was robbed. The evil one, having climbed into the cell, having robbed him so much, that the peasant "wants to go around the world with a sack." If the Peasant turns to his fellow villagers from the prohannyam to help you, then the help of the helper is more than necessary for the sake of that morality:

“Godfather Karpich seems:“ Eh, light!

It was not necessary to glorify you with light,

What are the styles of riches.

Swat Klimich seems to say: “Forward, my beloved matchmaker,

Namagaysya cage to khati nabagato put closer.

In tsіy baytsі іїїzm, vlasnitska psikhologiya, such zvichayna "kindness" in words, but in real life baiduzhіst to the bіdi of your neighbor is judged by Krilov not in literal words and rhetorical vikritty, as a sensible, miserable irony. What is the “friendship” of Foki’s pleasure, as I recommend the Peasant to take from some new tsuzen: “I’m a radiant bi susida of an expensive kind of heart to pour, to drown them!” As a result:

“Glad a thousand nadan brown.

Who skilki moment,

And by the way, I didn’t help the badolahi.”

A bike is a genre that especially tends to follow tradition. A lot of tales are repeated in the works of baikars of different hours and peoples. The whole story is about how the stench is told. One and the same plot is filled with different colors and national color. Krilova is especially worthy of note, reshaping the plot of Aesop and La Fontaine in his own way, zanuryuvav їх at the Russian butt, creating national characters.

Pushkin highly appreciated the national originality of the tales of Krylov and, similar to La Fontaine, appreciating the “spirit” of both peoples in creativity. On the face of the "simplicity" of the French biker Pushkin, the main character of Krylov's tales is in "a kind of cheerful slyness of mind, slyness, and a frivolous way of hanging out." Pushkin the First called Krylov "a truly folk poet."

Krilov's tales grew out of folk winds, out of the wisdom of Russian anecdotes and orders, out of their hospitality and great humor. “The people sings,” Belinsky wrote from Krylov’s drive, “... always spire on the mitzna basis - on the nature of your people ...”.

Vikoristannya prislіv'їv ta prikaz nadaє movі ta style tales Krilova national character and color. The servants of the vines knew the malovnichi, laconic formulas, like they shrugged off the viraz of looking at the inhuman.

In his tales, Krilov ideologically and satirically expressed the images that were formed in the national show, putting specific political strains into them. Koristuyuchis satirical images of folk sayings and fairy tales, Krylov with hostile artistic thoroughness and tact, pungent folk humor of the past, his verbal imagery from an excellent assessment of the present, rich with the new image, the creation of the people. Behind Krylov's images stood collective wisdom, that hundreds of accumulations of knowledge, which the people look at. It was given a sign both in the very nature of the fable morality, in that folk wisdom, as to lie at the basis of the fable, and in the artistic originality, in the “little way” of decency. It is not for nothing that Gogol wrote about Krilov, that he was “the same mind, which is similar to the mind of our followers.”

In the past, more and more brightly, lower be, there were signs of the humor of the Russian people, of a wiser life, of a more moral sense. The adjectives have reached the maximum variety and sense of meaning, at the same time they are always “figural”, allegorical, especially close to the fable.

Even more tales of Krilov to go to his mind until the last days. So, the slogan "Don't spit at the well - you need some water to get drunk" perekukuetsya from the plot and the moral of the tale "Lion and Misha". Following the close link of such tales, like "Bidny Bagach", "Miserly", with folk sayings about sknariness, yak Krilov was forced to choose a fable plot.

In a number of vipadkіv prislіv'ya not only morality, but the wisdom of krilіvskoї tales, ale and її plot, її pobudova, transforming into a kind of roaring metaphor. Taka, for example, the bike "Titmouse". The message “A tit flew across the sea and wanted to sing the sea, the tit made a lot of noise, it didn’t make a fuss about it” was pointed out already in Novikov’s “The Painter”. Krylov's tale is a scho realization of the tsgogo prislіv'ya, a kind of plot development. The warriors talk about those, like Sinitsa “boasted”, that “I want to burn the sea”, and about that “noise”, which calls out with boastfulness and culminating in the fullest confusion of praise of Sinitsa.

In the description of the “noise”, the hostility, crushed by the boasting of Titmouse, Krilov sounds especially eloquently, miniaturizing the low butt scenes. Here and "those of the souls are dragging along the benquets", like "from the first with spoons they appeared to the shores, sob to collect such a rich yushka, like a vodkupnik and not giving the secretaries themselves." In this buttovіy detail, a satirical characterization of the bureaucratic suspense is given, which makes such tales not up to the mentally mythical situation, but to the Petersburg Moscow orders and vdachas.

Water hour is necessary principle of authority between stories and tales. The appendix gives only a wild idea, a wild formula of fable morality, without revealing it in images, without expanding on the plot situation. The story gives the formula of flesh and blood of poetic images. The poetic individuality of a tale is also indicated by itself in its description, in the creation of images of tale characters, in the details of the plot.

Krylov's tales are scenes, based on dialogue, roses, the stench is dramatic for their nature, for their spirituality. Bєlinsky vkazuvav, scho "Yakbi Krilov appeared in our hour, vin buv bi the creator of Russian comedy." Krylov's tales were rich in what they prepared for the Griboidivska comedy.

Speaking about the tale “The Peasant and the Vivtsya”, as if vіn vvazhav “what is not the best of Krylov’s tales”, Belinsky said: “It’s simple - a poetic picture of one side of the suspіlstva, a little comedy, in a blіy vіrno vіrno vitrimanі seems to be skin-friendly to its character and its ringing.

Under the look of innocence and naїvenostі baikoї rozpovіdі Krilov to speak about the most severe and reserved speech. Vіn evilly criticizes the foundations of the kriposnitskoi system, the lawless and anti-national fiefs of the tsarist officials, the stupidity and the unfair order. Vikrivayuchi human foolishness and podlіst, Krilov does not waste the social perspective of his satire, in the light of his humor straightened panivni class.

Ale humor Krilova utrimuє yoga in cold rhetorical obvachnosti. Vіn is not a dry, poignant moralist, but a right-handed sings, who imbues his moral position in a real life.

The tale resounds with a special kind of monologue; The image of advocacy, yogo nibito "simple-hearted" naїvnіst, yogo setting to the bottom, rozpovidayutsya in fights, angry, with the forms of the movie. This explains the fixation of the very image of the confessor-baykar, that image of the “father of Krilov”, wise and at the same time slyly simple-hearted, which is so organically depicted with Krilov’s tales and with his real biography. Spriynyattya life facts, moral vysnovki, the whole way promote with numerous author's inputs and mirkuvannyami to talk about the nationality created by him to the image of the bike.

Krilov is respectful, we clean it with the tone of a historian and at once, with ingenuous cunning, tell about the good Murakh. Here, Krylov's sly stupidity, yoga humor is especially striking in the urochist tone of denunciation of the worthlessness of Murash's "exploits", which are wowed:

“Yakiy Murakha buv unforgiving strength,

Which is not a little bit for the old hours;

Vіn navit (it seems to be a true historian)

Instantly lift the great barley two grains!

Before that, and in good spirits, for a marvelous movement:

De b without baiting a worm,

Negaino drinking into the new

I learn to walk on a spider myself.

The very same “cheerful cunning of the mind”, as Pushkin said, of suffocation with the merry simplicity of the krylovsky image: “and go walking on a spider yourself.”

Pushkin put this image on a par with the images of such light geniuses, like Milton and Molière.

Krylov's tales are a sign of verbal mastery. The stench is like a bi concentration of all the creative dosvid of Krylov as a writer-playwright, poet-lyricist, satirist and bike. Harmonious unity of style with a variety of themes, plots, characters, poetic features, with which Krylov is shown, gives yoga tales a poetic ending and variety.

Krilov, having created real pictures of life, with vivid, accurate details of the concreteness of the image. Stingy and at the same time important is the understanding of the whole detail in order to bring life to the image. So, for example, in the “Kit i Kukhar” warrior, he guesses on the very cob about those that Kukhar is “literate”. It’s a mystery to shy away especially from the sutta, if you are ironically called “rhetorician”. It appears that Kukhar loves not only to “celebrate the funeral feast” according to kum, but he will sanctify the day, as he explained in the last days to wine, the promoter of Krasnomovstvo.

Thus, out of a few, it would seem, other rows of insignificant strokes, Krilov step by step develops an image of his living, real, rich-sidedness.

Verbal accuracy, conciseness and specificity of poetic farbs in Krylov's tales are still Pushkin's verse. Two or three, with precisely known, in the most varied details of the Creels, create a picture that will be forgotten.

At the Stavok and River Stavok warriors, they say to themselves: "... I'm in the mulish and soft shores, like a lady in down jackets I lie in licorice, and in peace." Tse porіvnyannia Stavok z "panine in down jackets" winyatkovo visibly and at the same time miraculously conveys the author's irony.

To instill in such a warrior, like “The Peasant and Death”, the plot of which follows the fable tradition, Krilov draws a typical situation in the life of the Russian peasant, the krіpak, who is tormented by the girki turboti about “per capita, boyarism, dues”. The old villager, "withered all over the air and work", he has an unbearable vantage in his own "sometimes cold, winter" - in the yazanka "volezhnik".

Satirical gostrota can be shown by Krylov in fable images of the real negative drawings for real. The strength of Krylov's tales lies in the fact that he victories not only the "spooky people's vadi", but specifically the shortfall of that evil of the current yoma suspense. In the warrior "The Fox and the Marmot" Krylov speaks of swindling as if it were a social evil - a manifestation, born of vines, which they stumbled upon. Insensitivity shows a typical, characteristic, image of Lisitsa-habarnitsy, taken from life, with hypocritical hypocrisy, viciously vibrating those settings to swagger like a normal being, like it blew up bureaucratic Russia.

Krylov, broadly currying the folk promo, introducing into the literature the words and the use of the common folk motif, which save all their barvy and malovnichestvo: “the servant’s servant is a maiden”, “I shrugged and died out of effort”, “you are siri, and I, buddy, gray” , “the vіdnіs vіdnіs vіdnіs vedmedіvі sokir”, “the gossip-Lisya klopota on that bidu povniy mouth” and so on. Tsі zvorot and virazi, domineering, rozmovnoї mov, save all their charm and barwistiness from Krylovsk tales, enrich the literary language.

For the fable verse of Krylov, the most characteristic principle is the intonation and rhythmic vision of the skin word, the energy of the oral, rosemary intonation, is dedicated to the vimovnіst of the tale, to the auditory spriynyatta. In tsom, the maisternist of Krylov-comediographer was noted, which transfer from the story to the principle of dramatic inducement to dialogue, movable variability and characterization of the movie.

Krylov's tales sounded alive with the voices of real life, the voices of all social beliefs. becoming, skin with power, specific rice and farbs, intonations and peculiarities of the dictionary. Before us pass Russian people of various professions and a dignified camp - villagers, noblemen, assistants, officials, businessmen, merchants, shepherds, townspeople - and I can speak of them, taking care of all the features of their middle ground, their social camp, profession.

Characterizing his characters, Krilov often goes into professional terminology and phraseology in order to more concretely and better show the character's social status. So, in the “Kupets” baitsa, the merchant explains himself, using professional jargon trade words (“kinets”) and rude petty-bourgeois commons (“hundred”, “stupid”, “fuse”, “marvel at” thinly). However, Krylov’s remarks are similar, shards of wine are unique in dialect and slang words and viraziv. Yogo heroes start to speak in a primal national language, and the richness and barvy of their language reach the widest variety of forms and phraseology of the language of language.

The tales of Krilov were crushed by the butt of Griboyedov, Pushkin, Gogol with the wealth of the people's music. Alive, with all the dearest facets of the folk wording of Krylov's language, his exact and eloquent words, epigrammatic twists and phrases have changed, with their own blackness, on folk sayings and orders, they have become bannages of the entire people.

The meaning and accuracy of Krylov's poetic meticulousness was richly attributed to the one who was transforming his verses into orders and phrases. That is why rows of images of Krylovsky tales entered the people so easily, yogo krylatі slіvtsya, that they turned their mind and cunning. Krilov, drawing widely on the people's language, at least generously giving the people a new lease of life. So vluchnі vyslovlyuvannya, like “Helpful fool not safe for the enemy”, “Having a belt and a hat in a frame”, “The casket just opened”, “You are already guilty, you want me to eat”, “That only in vіz i nі there”, “ And you, friends, don’t sit down, everyone is not good for musicians! ”,“ But Vaska hears that it is! And many others have long gone to the treasury of the Russian language.

Krilov was one of the first Russian writers, who gained worldly popularity. Yogo tales have been translated into the main European movies for the life of the writer. The stench is cursing with love and sounding more lower than fifty movs peoples of the SND.

Bikes Creel Pro you saved your value, your life in our hour. This is the wisdom of the people, mercilessly deprecating the vices and filthy powers of people, splintered by the Vlasnitsky, exploitative suspense, and do it with the devil against the remnants of the old, which are dead, zavazha rush ahead.

Krylov vyslovlyuvav as the wisdom of the people, and yogo moral ideal. In their tales, vin vismіyuvav and vikrivav, everything is more predictable and alien morality Russian people. Inevitably, the value of yoga tales is in the fact that in them the spiritual human ideals are embedded, as if they have saved all their meaning and today. Greed, stinginess, hisism, arrogance, nonsense, bezturbotnist, arrogance, hypocrisy, vainness, bait-up to someone else's misfortune, bragging, spiritual callousness, foul-mouthedness, laziness, indifference - only deeds of human weaknesses and vices.

We can talk about the inexhaustible life of the Krylovsky tales and often the death to them of political actors. So, with images and virazami of Krylov's tales in journalistic articles and instups, a lot of opinions and philosophers were embroidered. Here are “Trishkin caftan”, “Geese”, “Pustelnik and Vedmid”, “Crow and Fox”, “Hare on the catch”, “Pike”, “Kіt i Kukhar”, “Quartet”, “Swan, Pike and Cancer”.

Tales did not die at once with Krylovim. Stink live and dosi. And now they read both the old and the young, and the bright, that the top tales have become tales to serve us in all the ways of life.

About tse writing perspicaciously Belinskiy, showing that the number of readers of Krylov is getting better, and by the end of the year all the people of Russia are read. “Tse glory, Tse triumph! From the last generations of glory, the most important, the most, the most popular glory of the people.

Krilov's tales have become a fundamentally new phenomenon in terms of the development of a different genre, which was established in the Russian literature of the 18th century - classical and sentimental-leaf tales. The first bula was created by A.P. Sumarokov and V.I. Maykovim. Vaughn is characterized by navmisnym, rozrahovanim for comical effect zmіshanniam "high" and "low" movie. M. M. Muravyov was the founder of the sentimentalist tale, and I. I. Dmitriev. It looks like a classic “lightness”, a thinness, “acceptance” of a movie, which does not allow anything “low” and rough, which can create “illumination of relish”. Obidva tsi rіznоvidi bajok was abandoned as a suto-moralistic, eponymous genre. The stench was denigrated by the evils of the people and the lessons of the most abstract of the evil of the people "chesno" were taught.
Having chosen the main genre signs of the tale - allegory, the sense of the duality of the opposition, the conflict of the plot - Krilov critically portrays as many specific social aspects of the modern Russian life.

In the forefront of Krylov's tales hangs the image of a simple-hearted and crafty narrator, who tells about living scenes about him, spying on some supernaturally rіznomanіtny - from pobutovyh to social and philosophical-historical themes. The point of warning is often hidden and does not speak without a middle ground and vodcrito: vіn vіdsilає to a spilnoї thought, to a voice, to a retelling, like a turn in the sentences and orders. Throwing a wide stream of people into the bike, rozmovna mova. Leather character speaking my, scho vіdpovidaє її position, psychology, character. The verbal mask of the fable character has lost its intelligence. Tse brightly appeared in such tales as "Dem'yanov's Wuha", "Kit and Cook", "Peasant and Vivtsya", "Vovk and Lamb" and many others.

Susid susida clicked; Ale namіr іnshiy buv here: Khazyaїn loves music and lured to himself a suсіda of svіvchih hearing...

("Musicanti")

Here the Russian people good-naturedly laugh at the stupidity, which appears like a daily Russian. I’m not a lover of spivu, and yoga “youngsters”, and deceitful invocations of susids - everything here is cunning, and sleeping, and becoming overwhelmed by Russian.

The dominant tale of "Muzika" is morality, - in fact, a modification of the phrase:

And I'll say: drink me better, That was smarter.

Navitat in quiet moods, if Krilov cultivates traditional fable stories, look at the speeches, at the logic of promos and vchinkiv characters, in an environment that makes them feel, - everything has a spiritual atmosphere, generated by the national way of Russian life.

Krylov's tales were inspired by the people, yogo life dosvid, folk wisdom. Krylov's tales can be divided into three cycles: social, moral-philosophical and pobutov, or pochalni. Krylov's creativity was overwhelmed by translations of the famous French tales of Lafontaine ("Dragonfly and Murakh", "Vovk and Lamb"), then step by step, starting to know more and more independent plots, rich in such boules pov'yazanі zі vicious podіyami rosіyskogo life. So, the tales “Quartet”, “Swan, cancer and pike”, “Vovk in the kennel” became a reaction to different political trends. FOLKLORE

Allegory came to literature from folklore, parables, fairy tales, especially fairy tales about creatures, deeding traditional characters - like a fox, a witch, a hare, a wolf. The skin of them was svіdomo endowing with singing rice to the character. With the help of allegory, classicism was victorious, for example, in odes. Krylov pojdnav podsvіd vykoristannya tsgogo priyomu different literary genres in one tsіle. Baykov Murakha - special practice (“Dragonfly and Murakha”), pig - non-dominance (“Pig under oak”), lamb - lagidnosti, yak “Lamb God” (“Vovk and Lamb”).

Yaskrava, Vluchna, Russian language is alive, an indistinct link with Russian folklore, subtle humor excites Krilov's tales. Yoga tales inspired the soul and wisdom of the Russian people.

10. Lirika E.A. Baratinsky.

Creativity E. Baratinsky - one of the largest natural phenomena of the Russian romantic movement.
From one side, Baratinsky - a romantic, sings to the new hour, exposing the internally super-fluid, foldable and split spiritual light of a modern person, which he depicted in his creativity the self-sufficiency of a person. Even the deep supremacy of the Russian and European life, which brought the enlightenment thought to a crisis and to a romantic reaction to it, did not pass the poet's commemoration. Ale from the other side, ce sings, for the works of some kind of characteristic exercise of psychological insight, philosophicity. Even though the romantics were not powerful, it was possible to criticize a little from the position of reason, the stinks of the stench blame the miraculously and inconsistently reasonable will of the people, then, according to Baratinsky’s thought, the ruins of the human soul are spiritualized, then, like a reasonable one, and they follow the analysis. On the vіdmіnu vіd romanticіv, vіn vіn vіddaє perevaga truth, zdobutіy rozum, and not "dream" and "dream" like to perish at the first stop with real life. The lyrical hero of Baratinsky is not unique in the world of dreams and dreams, most of all in the world of dreams and cold, and not prejudiced.
In early creativity, in elegies, the hero of Baratinsky does not easily express his emotions, but analyzes, rozmirkovuє; Vіn postaє like a man, povna vagan, protirіch, internal sum'yattya:

To you dear I, tell you,
Ale zayviy swear to you dearer,
I'm dear to you, ale, sorry!
You have that іnshi miles tezh ...
(“I will give affectionate promos ...”);
I'm addicted to tight spovneniya,
Ale don't know! I won't forget my mind...
(“I remember me from the buried…”)

One of the main themes of this elegy is the silence of the lyrical hero, all the same dreams of ideals, from the suvor of action, from the cold life of the dosvid, which calls out only rozcharuvannya:

Deception znik, no luck! and by me
One love, one sickness...
(“This kiss, gifts from you ...”)

The hero of yoga poetry cannot be quiet with illusions and self-deception. Vіn marvel at the world firmly and wary.
On the other hand, another key theme of Baratinsky’s early lyrics is the analysis of hairy discord, super-fluidity, colivan:

With tight joy I marvel,
Not for me її syayvo,
I don't give a damn
I wake up my sick soul ...
Everyone thinks: I’m happy with mercy,
I do not deprive me of my joy.
(“Vіn close, close day of cheering ...”)

In his lyric, Baratinsky's chilny also continues to protirichcha life and death, talk about freedom of choice and mindfulness. It’s also clear to hear in Yogo Vershah the thought about those that the building of love is bestowed on people, burn, that God endows people with passions:

Crazy! Chi is not won, chi is not cherry will
What grants passion to us? І chi not її voice
Can you hear me in your voice?

And the very same wine will reach in its thoughts to the truth of the Promise:

Oh, hard for us
Life, what can b'e
І in the middle of the university is squeezed in by a share.
(“To what extent does a wicked dream of freedom? ..”)

Otzhe, it is possible to develop a nevtishnogo vysnovka from the one who has early lyric poetry. Baratinsky is special, psychological, and philosophical.
What is the reach of this synthesis of lyrics and philosophy? In creativity, Baratinsky peredusіm orients on the meaning of the word, its diversity. Sounds and eminence of phrases, depths of metaphor and zagalnen, as if for an hour the forms of aphorisms swell:

Bring joy to those who give life to life,
And death itself teaches them to die.
("Scull")

Unhappiness with themselves
I, in our young years,
Give us a quicker house,
Funny, maybe, all-seeing share.
("Viznannya")

Let's take a look at the features of the artistic system and poetics of Y. Baratinsky on a specific example.
Znevira
Don't comfort me without need
Turning your lower legs:
Rozcharovanuyu stranger
Keep calm for many days!
I don't believe the songs anymore
I no longer believe in kohanna
I can't get in again
Once in a dream, what have they changed!
My blind tightness is not multiplied,
Do not start about too many words
I, friend dbaylivy, ailing
Yogo dream is not disturbing!
I sleep, I sleep for licorice;
Forget the final dream:
In my soul there is only praise,
And do not prokinesh ti.
At first glance, we see in this elegy the conflict of the lyrical hero from the outer world, which dominates all romantics, the appearance of the lyric hero in the world of dreams:

... sick
Yogo dream is not disturbing!
I sleep, I sleep for licorice ...

The theme of the elegy is the experience of the lyrical hero, who knows the rose of life. But behind the closer look, it becomes clear that the experience lends itself to analysis. Already from the first row, it became clear that the lyrical hero, turning to a woman, miraculously realized that she didn’t love yoga, it’s more than primha, she doesn’t need yoga wide, I feel it:

Don't comfort me without need
I will turn your lower legs ...

Pochuttіv is already mute, only imitation. You feel, deep and strong, maybe, if you showed up as a deception, a dream:

I can't get in again
Once in a dream, what have they changed!

And the lyrical hero does not want to re-opinate with whom "deceit". Vin is not to blame for not believing in "wonderfulness", "not believing in the kohanny", not believing in "the dream of the world". Vіn is less likely to follow the infamous course of life, in what kind of happiness it is impossible, impossible and right kohannya:

My soul has one praise
And do not prokinesh ti.

"Khvilyuvannya" deputy kokhannya. The high ones almost turned into a deceit for you, and they lost more than their taste. To that the lyrical hero and enchantments, and the “too much” is less to “multiply” yoga and so “blind tight”. The lyrical hero does not want to worry about the experience, to the one who experiences the experience to deliver to you only a little more, to that you call yourself “ill” and ask the yogo “not turbuvati” from the yogo “dream”.

Mi bachimo, as if by stretching the verse, it seems to be consuming its spirituality. For us, we reconvert the awakenings into an elegiac semantic series: lowness - calmness - zapevnennya - love - dreaming - sleep tight - ailments - drowsiness - bringing dreams - one praise. To yogo vibuduvati, the necessary deep analysis of your experiences. Possibly, the literary scholars and critics repeatedly speculated that “in the elegies of Baratinsky, there is a whole “history” for almost all of this until the accusation of a new emotional experience.” (V.I. Korovin)

The elegy is clearly subdivided into two parts. While in the first part (1.2 chotirivirshi) the lyrical hero talks about those who have been, about how much they feel (feeling, love, etc.), then in the other part (3.4 chotirivirshi) mi bachimo those that happened, virnіshe those who have lost their sight of the senses. The first hero is not about the past, but over it, to which the “past” has led (sum, drowsiness, etc.). do not turn, do not awaken.

If you pay attention to the syntax, then you can remember that the lyrical hero speaks about a lot of things in a stilted, arrogant way: about the signs of a hail, with which the first two chotirivirs will end. Tell me about qi, call out a storm of emotions from the hero, and then start bіl. Vіn nіbі bаєtаєs tо perekonatі chi vіrvdatі svіy stan. At the third chotirivirshi, as if it would also end with a sign of hail, the theme has already changed, but the hero has not yet calmed down, he is still resting under the power of emotions. And in the light of the day, “dbaylivy friend” sounds sarcastic. And yet, for example, the verse is bachimo, that the lyric hero is already cold and reasonable. Vіn having made a decision: vіn does not want to turn in that false world of "dreams", as before. The lyrical hero, hi and rozcharovaniya, hi and without kohannya, is left behind by the real world. Let life be without love - all the same “sleeping”, “drowsiness”, nevertheless, the hero is left in the new world with his thoughts, with his “blind tightness”. To that, for example, the elegiac already has no sign of a hail, but there is a speck, stating about those who remain chotirivirshi - a kind of visnovo from the front analysis of their experiences.

Now it becomes wise and the name of the verse. "Razviriti" - means to relieve the inwardness, to relieve the faith. Henceforth, the lyrical hero ceases to be admired by the light of the wide, almost, ideally, by the human face. І він put a residual spot in the nutrition about your experience. Adzhe rozpovid is conducted in the first individual, then, about the same experience as a hero. Vіn znevіrivsya іn іsnuvannі schastya i vybravі і іnshiy slyah.

In this rank, one can say that the subject of the poem is the very thought about the death of the right one. And elegiacness is reached by the very same, that the logical development of the thought about death seems to be accompanied by deep emotional experiences.

Artistic features. The mastery of Krylov-Baykar is left unfinished. Youmu was far away from the intellectual and didactic genre of developing the form of true realist works, outperforming the rich voice of Griboyedov and Pushkin. In bikes, Krilov vikoristav all front

Literary background: in the context of dramaturgy, I take the sharpness and dynamism of the plot, the mastery of prompting dialogue, the moving characterization of the characters; in prose - simplicity and naturalness of explanation, psychological reliability of the motivation of the heroes' behavior; in folklore - folk images of that language.

The very same story of Krylov's tales became a reference for Russian literature, as it paved the way for the development of prose, dramaturgy and poetry. Until now, no one has written so simply, it is accessible and easy. The basis of Krylov’s movi stories is the national rozmovna mova with clear inclusion of space (“to bawl a fool”, “not

In reserve”, “the wind is gone”), idioms, adjectives and orders (“On the right, the maistra is afraid”, “Lastivka is alone to rob the spring”). It is not for nothing that Belinsky poached at Krylov’s tales between, the powerful Russian people began to glow, “the building is short, clear and curly-haired at once.” The great Russian biker, having re-invented the Russian language of impersonal aphorisms and winged virazivs (“I’m not an elephant”, “But the screen just screamed”, “That viz and nini there”), which mіtsno went into mov and enriched modern Russian mov.

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