Assignment for graphic work number 2. Practical and graphic work on drawing

The ancient Greek scholars themselves recognized that the fables of the Assyrians and Babylonians influenced the work of Aesop. He became the author of the plots of almost all the fables known in antiquity, which were collected in the collections of "Aesop's Fables" in the IV-III centuries BC. NS. In the XIV-XV centuries, these collections were published in various editions. Roger L "Estrange. Aesop's Fables

The Sumerian-Babylonian fable became the source of the Indian fable. The collection of fables "Panchatantra" dates back to the 3rd century. This famous collection of Indian fables and stories in 5 books was compiled by the brahman Vishnusarman for the instruction of the royal children. The Panchatantra was very early translated into various Asian and European languages ​​and served as a source for a number of wandering tales and tales. Heroes of the Panchatantra. Syrian illustration for Kalila and Dimna.

The ancient genre was exalted in the 17th century by Jean de La Fontaine. The French writer has created an innovative style in writing fables. In his creations, there are no moral teachings as such. The writer tried to reveal the real meaning of life, the essence of good and evil on earth. Monument to Jean de La Fontaine in Paris. French fabulist with characters from his fable.

The most widely known are the fables created by I.A. Krylov (). Many expressions from Krylov's fables became winged. Heroes of Krylov's fables. Illustrations by E.M. Racheva.

In the 19th century, the meaning and spirit of the great Aesop's fables was remarkably conveyed by Leo Tolstoy (). Lev Nikolaevich had his own view of how they should be translated. In all the transcriptions and translations of poetry by different authors, there was a lot that was superfluous and inaccurate. Tolstoy tried to convey the true face of the fable. He noticed the unnaturalness of the plot of the fable "The Crow and the Fox": none of these animals feeds on cheese. And in Tolstoy, as in Aesop's original, a raven holds a piece of meat in its beak. A Crow and a fox. Illustration for a famous plot

In the 20th century, D. Bedny, S.I. Oleinik, S.V. Mikhalkov. Mikhalkov's fables are a well-aimed satire weapon. The whole country was read by them. They are still popular today. The venerable author, who shared all the joys and sorrows of his people, clearly seeing good and bad, managed to show human weaknesses and vices in the best traditions of fable creativity. The fable, which received a new round of development in the twentieth century, is relevant to this day. Collections of fables S.V. Mikhalkova

Literature 1. Russian fable of the 18th - 20th centuries. - M .: Bustard: Veche, Timofeev L.I., Turaev S.V .. Dictionary of literary terms. M .: "Education", Turyanskaya B.I., Komissarova E.V. Literature in grade 5. Lesson by lesson. - M .: OOO Russian word- educational book ”, 2002 Internet resources: jpg png jpg 14. jpg 15. jpg Tropinin_Dmitriev_1835. jpg jpg "University Educational Districts"

Krylov's fables became a fundamentally new phenomenon in relation to the varieties of this genre that were established in Russian literature of the 18th century - classicistic and sentimentalist fables. The first was created by A.P. Sumarokov and V.I. Maikov. It is characterized by a deliberate mixing of the "high" and the "lowest" syllables, calculated for the comic effect. The founder of the sentimentalist fable was M.N. Muravyov, and the consummate master was I.I.Dmitriev. It differs from the classicist "lightness", grace, "pleasantness" of the syllable, which does not allow anything "low" and coarse, which can offend the "enlightened taste". Both of these types of fables remained a purely moralistic, moralistic genre. They ridiculed universal human vices and taught lessons of an equally abstract universal human "virtue."
Having retained the main genre features of the fable - allegory, semantic bi-level of the narrative, the conflict of the plot - Krylov critically depicts very specific social vices of contemporary Russian reality.

In Krylov's fables, the image of a simple-minded and cunning storyteller came to the fore, telling about the living scenes he saw, the content of which is unusually diverse - from everyday life to social and philosophical-historical topics. The narrator's point of view is often hidden and does not speak directly and openly: he refers to the general opinion, to rumor, to tradition, which are expressed in proverbs and sayings. The popular, spoken language poured into the fable in a wide stream. Each character spoke in a language corresponding to his position, psychology, character. The verbal mask of the fable character has lost its convention. This is clearly manifested in such fables as "Demyanova's Ear", "Cat and Cook", "Peasant and Sheep", "Wolf and Lamb" and many others.

The neighbor's neighbor called for a bite; But there was a different intent here: The owner loved music And lured his neighbor to listen to the singers ...

("The Musicians")

Here the Russian person good-naturedly laughs at the absurdities, which are also manifested in a purely Russian way. And the unlucky lover of singing, and his "fellows", and the deceived neighbor - all here are cunning, and sing, and are indignant in Russian.

The morality crowning the fable "The Musicians" is, in essence, a modified proverb:

And I will say: for me it is better to drink, Yes, mind your business.

Even in those cases when Krylov processes traditional fable plots, in the very outlook on things, in the logic of speeches and actions of the characters, in the environment surrounding them, the spiritual atmosphere generated by the national way of Russian life is captured in everything.

Krylov's fables reflected the life and customs of the people, his everyday experience, folk wisdom. According to their content, Krylov's fables can be divided into three cycles: social, moral-philosophical and everyday, or moralizing. At first, translations or transcriptions of the famous French fables of La Fontaine ("The Dragonfly and the Ant", "The Wolf and the Lamb") prevailed in Krylov's work, then gradually he began to find more and more independent plots, many of which were associated with topical events Russian life... Thus, the fables "The Quartet", "The Swan, Cancer and the Pike", "The Wolf in the Kennel" became a reaction to various political events. FOLKLORE

Allegory came to literature from folklore, parables, fairy tales, especially fairy tales about animals, where traditional characters acted - such as a fox, a bear, a hare, a wolf. Each of them was deliberately endowed with a certain character trait. The technique of allegory was used by the classicists, for example, in odes. Krylov combined the experience of using this technique with different literary genres into one whole. The fabulous ant is the personification of industriousness ("The dragonfly and the ant"), the pig is ignorance ("The pig under the oak"), the lamb is meekness, like the "Lamb of God" ("The wolf and the lamb").

Krylov's fables are distinguished by a bright, accurate, lively Russian language, an inextricable connection with Russian folklore, and subtle humor. His fables reflected the soul and wisdom of the Russian people.

10. Lyrics by E.A. Baratynsky.

The work of E. Baratynsky is one of the most peculiar phenomena of the Russian romantic movement.
On the one hand, Baratynsky is a romantic, a poet of the new era, who exposed the internally contradictory, complex and bifurcated spiritual world of his contemporary person, who reflected in his work the loneliness of this person. After all, the deep social contradictions of Russian and European life, which led to a crisis in educational thought and to a romantic reaction to it, did not pass by the poet's consciousness. But on the other hand, this is a poet, whose works are characterized by a striving for psychological disclosure of feelings, philosophicality. If it was not typical for romantics to criticize feelings from the standpoint of reason, since they arise involuntarily and are not subject to the reasonable will of a person, then, according to Baratynsky, the movements of the human soul are spiritualized, and therefore, not only reasonable, but also amenable to analysis. Unlike romantics, he prefers the truth gained by reason, rather than "sleep" and "dreaming", which perish at the first encounter with real life... The lyrical hero of Baratynsky does not escape from reality into the world of dreams and dreams, more often than not he is sober and cold, and not passionate.
In his early works, in elegies, Baratynsky's hero not only expresses his emotions, but also analyzes, reflects; he appears as a person full of hesitation, contradictions, inner confusion:

I am dear to you, you repeat,
But the extra captive is dearer to you,
I am very dear to you, but alas!
You and others are nice too ...
("The bait of affectionate speeches ...");
I am full of passionate longing
But no! I will not forget my mind ...
("I noticeable with rapture ...")

One of the main themes of his elegies is the collision of the lyrical hero, full of dreamy ideals, with harsh reality, with a cold life experience that only causes disappointment:

The deception is gone, there is no happiness! and with me
One love, one exhaustion ...
("This kiss given by you ...")

The hero of his poetry can no longer indulge himself with illusions, self-deception. He looks at the world soberly and wary.
On the other hand, another key theme of Baratynsky's early lyrics can be considered an analysis of his own duality, contradictoriness, hesitation:

With longing for joy I look
Her radiance is not for me,
And I am in vain hope
I wake up in my sick soul ...
Everything crumples: I'm happy with a mistake,
And fun does not suit me.
("He is close, the date of the date is close ...")

In his lyrics, Baratynsky is also inclined to explore the contradictions between life and death, to talk about freedom of choice and predetermination. The idea that the ability to love is bestowed on a person from above, that God endows a person with passions, sounds very clearly in his poems:

Madman! Is it not she, is it not the will of the highest
Grants passion to us? And is it not her voice
Do we hear in their voice? ..

And that is precisely why he comes in his reflections to the justification of Providence:

Oh, painful for us
Life beating with a mighty wave
And into the narrow edges pressed by fate.
("Why would a slave dream of freedom? ..")

Thus, we can conclude that the early lyrics of E. Baratynsky are very personal, psychological, but at the same time philosophical.
How is this synthesis of lyrics and philosophy achieved? In his work, Baratynsky primarily focuses on the semantic expressiveness of the word, its meaningfulness. Hence the capacity of phrases, the depth of metaphors and generalizations, which sometimes take the form of aphorisms:

May life give joy to the living,
And death itself will teach them how to die.
("Scull")

Powerless in themselves
And, in our young years,
Making hasty vows
Funny, maybe all-seeing fate.
("Confession")

Let us consider the features of the artistic system and poetics of E. Baratynsky using a specific example.
Reassurance
Don't tempt me unnecessarily
Return of your tenderness:
Frustrated are alien
All the seduction of the old days!
I don't believe the assurances
I do not believe in love
And I cannot surrender again
Once you betrayed your dreams!
Do not multiply my blind longing,
Do not start talking about the former
And, caring friend, sick
In his slumber, do not disturb!
I sleep, sleep is sweet to me;
Forget old dreams:
There is one excitement in my soul,
And you will not awaken love.
At first glance, we see in this elegy a conflict between the lyrical hero and outside world, which is characteristic of all romantics, the departure of the lyrical hero into the world of dreams:

... sick
In his slumber, do not disturb!
I sleep, my sleep is sweet ...

The theme of the elegy is the experiences of a lyric hero who has experienced disappointment in this life. But on closer examination, it turns out that experiences are being analyzed. From the very first lines it becomes clear that lyric hero, turning to a woman, she is well aware that she does not love him, this is just a whim, she does not need his sincere feelings:

Don't tempt me unnecessarily
The return of your tenderness ...

Feelings are gone, it's just an imitation. Those feelings, deep and strong, apparently, once turned out to be a deception, a dream:

And I cannot surrender again
Once you betrayed your dreams!

and the lyric hero does not want to find himself in this "deception" again. It is not his fault that he does not believe in "assurances", "does not believe in love", does not believe in "old dreams." He only obeys the general course of life, in which happiness is impossible, and true love is also impossible:

There is one excitement in my soul
And you will not awaken love.

"Excitement" instead of love. High feelings turned into a deception for him, and only some half-feelings remained. Therefore, the lyrical hero is disappointed, and the "past" only "multiplies" his already "blind melancholy". The lyrical hero does not want to remember his experiences, since these experiences give him only pain, so he calls himself “sick” and asks him not to “disturb” in his “slumber”.

We see how, throughout the poem, the feeling loses its spirituality. We are convinced of this by the semantic series built in the elegy: tenderness - seduction - assurances - love - dreams - blind longing - sick - drowsiness - old dreams - one excitement. In order to build it, you need a deep analysis of your experiences. Perhaps that is why literary scholars and critics have repeatedly expressed the idea that "in Baratynsky's elegies, a kind of integral" history "of feeling is given, from its fullness to its disappearance and the emergence of a new emotional experience." (V.I.Korovin)

The elegy is clearly divided into two parts. If in the first part (1,2 quatrains) the lyrical hero talks about what happened, about the previous feelings (tenderness, love, etc.), then in the second part (3,4 quatrains) we see what has become, or rather, what is left of these feelings. And the hero reflects not on the past, but on what this “past” has led to (melancholy, drowsiness, etc.). do not return, do not "awaken".

If you pay attention to the syntax, you will notice that the lyric hero speaks about past feelings with enthusiasm, excitedly: this is evidenced by the exclamation marks that end the first two quatrains. Memories of these feelings cause a storm of emotions in the hero, but they are painful. He seems to be trying to convince or justify his current state. In the third quatrain, which also ends with an exclamation mark, the theme has already changed, but the hero has not yet calmed down, he is still under the power of emotions. And in this light, the address "caring friend" sounds even sarcastic. But at the end of the poem, we see that the lyrical hero is already cold and reasonable. He made a decision: he does not want to return to the deceptive world of "dreams" in which he was previously. The lyrical hero, albeit disappointed, albeit without love, remains in the real world. And even if life without love is also "lulling", "drowsiness", the hero still remains in it with his thoughts, with his "blind longing." Therefore, at the end of the elegy there is no longer exclamation mark, and there is a point, indicating that the last quatrain is a kind of conclusion from the previous analysis of one's own experiences.

Now the title of the poem also becomes clear. To "disbelieve" means to deprive one of confidence, to deprive one of faith. Consequently, the lyric hero ceases to believe in bright sincere feelings, ideals, and human relationships. And he puts the final point on the question of his experiences. After all, the narration is in the first person, which means that the hero is talking about his own experiences. He lost faith in the existence of happiness and chose a "different path" for himself.

Thus, we can say that the very idea of ​​the death of genuine feelings becomes the subject of the poem. And elegiacity is achieved precisely by the fact that logical development thoughts about the death of a feeling is accompanied by a deep emotional experience.