The most famous fabulists

Fable - the oldest genre of literature, originating back in ancient Greece. It is based on a moralizing story, containing morality, either in the text of the work itself, or in a separate part of it. Traditionally, this genre has a small volume and is written in poetic form. As the main characters, famous fabulists often choose animals that embody the vices of both the individual and the society as a whole.

Development of the genre

It is assumed that the fable originated in ancient Greece. Her first authors are Stesichora and Hesioda. However, Aesop achieved the greatest fame, whose works were subsequently used by famous fabulists as the basis for creating works of this genre. Less popular was Demetrius of Falerski (300 BC) and Babriy (2nd century AD).

From the Middle Ages to the 19th century, Jean de Lafontaine, who lived in France in the 17th century, the German poet Gellert, wrote fables. In the 18-19th centuries this genre becomes very popular in Russian literature. The most famous were A. Kantemir, V. K. Trediakovsky, A. P. Sumarokov, II Dmitriev and, of course, IA Krylov.

Aesop - the famous ancient Greek fabulist

This is a well-known and yet mysterious person. It is assumed that Aesop lived in the 6th century BC. E. In one of the cities of Thrace or Phrygia.

The main source of information about the fabulist - the legend, since it is not known for sure whether such a person actually existed. He is credited with the creation of small fascinating stories in prose, from which a moralizing implied. Mostly they were directed against the nobility, which required a special, veiled content. Heroes were conventional animals, speaking a simple language. Hence the winged expression "Aesopian language", which is actively used today in the sense of "allegory".

Interest in Aesop's fables always existed. His followers Phaedrus, Flavius Avian, made the translation of the texts into Latin. Many of the most famous fabulists of different times used them as the basis for creating their own works. Hence, quite familiar and similar subjects in the texts of different authors. Here is one example of the fable of Aesop: the wolf saw the shepherds who dined with a sheep, went up and said, addressing them: "And how much noise it would be if I did it."

The work of Jean de Lafontaine

The history of modern fables begins with the work of the French fabulist who lived in 1621-1695.

His childhood passed close to nature, as his father served in the forestry department. To the post transferred from the parent, Lafontaine took a frivolous attitude and soon found himself in Paris, where he lived all his life, achieving, by the way, great fame. Before him were opened the doors of almost all the capital's salons, with the exception of the royal palace: they did not like a free and frivolous poet who did not accept any obligations.

The main fame is brought to the poet by six books under the single name "Aesop's Fables, translated into verses by M. Lafontaine." They were distinguished by a very good, figurative language, diverse poetic forms and a special rhythm. In the content, the most interesting philosophical reflections and lyrical digressions interwoven organically. The heroes of Lafontaine usually achieved success due to their dexterity and ability to use the situation.

Genre of fables in Russian literature

Interest in the works of Aesop, and then Lafontaine, was observed in many countries, including Russia. As early as the 17th century, the fables of Stephenith and Ihnilat were known. However, this genre is most popular only after the Petrine era, when in the literature there are really famous fabulists. Russian imitative works of this genre are gradually replaced by original ones.

The first were A. Cantemir, who wrote six fables in the spirit of Aesop, and V. Trediakovsky, who was engaged in processing the works of the ancient Greek poet.

Famous fabulists A. Sumarokov, I. Chemnitzer, I. Dmitriev

The next serious step was made by A. Sumarokov: in his creative heritage there are 334 fables, most of which are already independent works. This is a small live scenes written in free verse and a somewhat coarse language. According to the author, this demanded a low calm, which included fables. The works themselves were very much like a naturalistic scene from everyday life, and the plot was derived from folklore, which also gave the works a national character. Sumarokov himself often called them fables-parables, which already determines the author's design.

In the second half of the 18th century the collection "Fables and Tales of NN in verse" was published, the peculiarity of which was the combination of classicism and sentimentalism. The name of the author - I. I. Chemnitzer became known to the general reader only two decades later, when the book was reissued after the death of the poet. The main features of his fables are well expressed in the epigraph to the second collection: "In nature, in simplicity, he sought the truth ..." For the poet, accuracy and logical expression of thought were more important, which limited him in choosing expressive means. Many noted that, unlike Sumarokov with his "muzhik" conversation, the language of Chemnitz was more like a noble speech, smoother and more elegant.

This series of fabulists is closed by I. Dmitriev, who was very friendly with Karamzin. This left an imprint on his work. Dmitriev's language is distinguished by a special lightness, smoothness and good taste, and heroes-animals express themselves wittily and at the same time cute. It is no accident that he was called a reformer in the field of poetic language and the founder of the salon fable.

In Russian literary criticism, the opinion persisted that these famous fabulists were able to reform the language of the works of this genre and laid the foundations for the formation of the work of another well-known poet.

The Great IA Krylov

This poet, known to us from childhood, began with translations of his beloved Lafontaine in 1805, and then 6 more years tried his hand at various genres.

Recognition of Krylov as a fabulist occurred in 1811, during which 18 fables were written, and 15 of them were original. A bright and well-defined figurative language, attractive and often unexpected images, almost all become nominal, instant responses to the most topical social and political events are the most essential features of Ivan Krylov's fables. His works embodied the wisdom and identity of the people and laid the foundations of realism. The creative heritage of I. Krylov includes 340 fables, published in 9 collections. Even during the life of the poet, his books were translated into Italian, German, English, French.

It so happened that the famous Russian fabulist IA Krylov played a leading role in the development of this genre in all world literature. No one could say better and no more.