What human shortcomings are allegorized in the fable. Images of animals in fables I
Fable is short story, which has allegorical meaning. Usually one of the main types of allegory in a fable is allegory - the embodiment of an abstract idea in a material image. As a rule, the main characters fables are conventional fable animals. It is generally accepted that images of animals are allegorical.
In I. A. Krylov’s fables, animals act more often than people. Animals are present in all types of fables by I. A. Krylov: philosophical (“Two Doves”), social (“The Wolf and the Lamb”), historical (“The Wolf in the Kennel”), everyday (“The Pig under the Oak”). It is generally accepted that the image of each animal in the fabulist is an allegory of some character trait, for example, a monkey, a pig - an allegory of ignorance; donkey - nonsense; cat - tricks; A rooster, a cuckoo - mediocrity, etc. The allegorical nature of animal images originates from Aesop's fables. Aesop wrote fables for the sake of establishing morality in society, and allegory helped him ridicule a certain human trait, a bad inclination, it served as an illustration of morality. In the fables of I. A. Krylov, not only morality is important as the highest category of human behavior in society, in many ways he is a follower of La Fontaine, a picturesque fabulist. We read I. A. Krylov’s fables not because of the morality, but because of the most interesting and witty story told. Therefore, one may not agree that the author’s image of any animal is only an allegory of one human vice. In most cases, the image of an animal by I. A. Krylov includes a set of certain qualities and properties that make up a certain human character.
For example, the image of a fox is composed not only of cunning and flattery, but of cunning, flattery, and deceit at the same time. And in accordance with the endowed character, she behaves in each specific everyday situation. In the fable “The Peasant and the Fox,” the Fox at the end acts as a fox should, without contradicting his character:
The fox has become more satisfying,
The fox has become fatter,
But things didn’t become more honest.
Choosing a darker night,
Kumanka strangled all his chickens.
The donkey, one of the most frequently encountered heroes of I. A. Krylov’s fables, is also endowed with a human character. He is stupid, stupid, ignorant, stubborn. And in the fable he always acts like a donkey. The man entrusted him with guarding the garden, “the donkey, chasing the birds with all the donkey’s legs<...>He got such a jump that he crushed and trampled everything in the garden.” Zeus made him taller. But still the donkey remained a donkey:
Not even a year has passed
How everyone found out who Donkey is:
My stupidity has become a proverbial donkey,
And they carry water on a donkey.
From folk tales According to proverbs, certain images of many animals, for example, a fox, a wolf, a hare, take shape in the minds of Russian people. I. A. Krylov uses this in his fables, this is the nationality of Krylov’s fables. But, of course, not all the animals in his fables represent complete characters. For example, a bee is just a generalized allegory of hard work.
Every animal by I. A. Krylov also personifies a representative of some social group. The lion is always the king; Wolf, Fox, Bear - court nobles, officials; Lamb, Frog, Ant are “little” people standing at the very bottom of the social ladder: minor officials, peasants. Often the human character with which the beast is endowed in I. A. Krylov’s fable merges with his social characteristics, and then real, existing in society appear before the reader social types. For example, in the fable “The Education of Leo”, behind the image of the old Leo we see a typical image of the Russian Tsar. Leo trusts to raise his Lion Cub to a representative of another nation, a foreigner; he cannot teach his own son to run the state, because he does not know how to do it, does not know what is really going on in his state. And as a result, the Lion Cub grows up to be the same as his father, a stranger to his people, cut off from the national soil.
Often in I. A. Krylov’s fables it is easy to detect specific historical figures behind the images of animals. The lion cub from the fable “The Education of the Lion” is Alexander I; The wolf from the fable “The Wolf in the Kennel” is Napoleon. It can be said that the Wolf is not an allegory, but rather a metaphor related to Napoleon.
Artistic perfection and the realism of I. A. Krylov’s fables lie in the breadth of generalization, in the typicality, in the accuracy of the selection of the fact that prompted the fabulist to create the fable.
The fabulist’s images of animals are not just allegories of one human trait; many of them convey various traits of human character, representing a certain class type, and are a metaphor for a specific historical person. Krylov creates living, typical, realistic characters, generalizing and typifying the very situation in which they act. This is the realism, innovation and durability of I. A. Krylov’s fables.
ANNOTATION
Kazak Oksana Nikolaevna Nazarovo, municipal educational institution secondary school No. 3, 5A class
“The Image of the Wolf in the Fables of I.A. Krylov”
supervisor: Oksana Leonidovna Kabasheva, teacher of Russian language and literature.
The purpose of the scientific work: to show how in various fables, through the images of a wolf, Krylov portrayed representatives of various social levels: kings, nobles, officials, etc., what human vices, ridiculed in the image of a wolf, have survived to this day.
Research methods: study, analysis, synthesis
Main results scientific research(scientific, practical): a comparison of several fables was carried out, on the basis of which different tempers and images of an allegorical character - the Wolf.
INTRODUCTION
Relevance(slide No. 2). Back in Ancient Greece, the fable genre was glorified by the witty Aesop. In Russia in the 18th century, the fable became one of the most beloved genres in literature. Idioms from the fables spread among the people. The moral of the fable always taught unobtrusively, passed on wisdom from older generations to younger ones. Ivan Andreevich Krylov became a famous fabulist. Of most children's fairy tales and poems, Krylov's fables are always the best, because they are etched in the memory and arise throughout life when encountering human vices. People can often say that Krylov did not write for children at all, but is the meaning of his fables really not at all clear to children? The moral is clearly and competently written, which is why absolutely any child can read Krylov’s fables with great benefit. Nowadays, satirists often use fables to ridicule any vices in society or their political rivals.
The purpose of the work (slide No. 3) is to show how in various fables, through the images of a wolf, Krylov portrayed representatives of various social levels: kings, nobles, officials, etc., what human vices, ridiculed in the image of a wolf, have survived to this day.
Hypothesis (slide No. 4). The wolf in Krylov's fables is the personification of greed, stupidity, injustice and other vices of people.
Tasks (slide No. 5):
analyze the selected fables,
generalize allegorical images, draw conclusions,
Methods (slide No. 6): study, analysis, synthesis.
Object of study – fables by I.A. Krylov.
Subject of study – the image of the Wolf in Krylov's fables.
Chapter I. ALLEGORY AS A MEDIUM
EXPRESSIVENESS IN A FABLE
We have loved reading Krylov's Fables since childhood. Our memory stores various Krylov images, which often arise in our memory in completely different life situations, and, turning to them, we never cease to be amazed at Krylov’s talent.
What is a fable? According to the explanatory dictionary, this is “a short, mostly poetic, moralizing text,” that is, a fairy tale containing a lesson that is directly related to internal spiritual qualities personality, based on such moral ideals as goodness, responsiveness, duty, justice and others. Heroes in fables can be anything or anyone: people, animals, objects or plants that are endowed with various human qualities.
As a trope, allegory is used in poetry, parables, and fables. The main way to depict an allegory is to generalize human concepts; ideas are revealed in the images and behavior of animals, plants, mythological and fairy tale characters, inanimate objects and acquire figurative meaning.
Chapter II. THE IMAGE OF THE WOLF IN KRYLOV'S FABLES
"Wolf and Lamb"
2. “Wolf in the kennel”
3. "The Wolf and the Crane"
4. "Wolf and Sheep"
5. "The Wolf and the Fox"
Let us select for analysis several of the most famous fables.
1. Krylov's fable "Wolf and Lamb"( slide number 9) , at first glance, it seems quite traditional interpretation famous story. The fable has two main characters, whose images are equally important and cannot exist one without the other. If you remember the plot of the work, then already in its elements you can see a clearly expressed author’s principle: the “hungry Wolf” prowls near the stream, hoping to somehow satisfy his hunger, and at this time the Lamb comes to the same stream, who wants to get drunk. .. A “hungry” predator simply cannot refuse the food that appears! Shouldn’t he really go look for some other “food” if it has already appeared? The worst thing about his behavior, according to Krylov, is not this. The author probably would not have found why he should have condemned the Wolf if the predator had immediately eaten the unfortunate Lamb? Then, strictly speaking, there would be no fable. To show not just strength, but immoral, hypocritical force and this is especially terrible in morally, Krylov portrays the Wolf, who persistently strives to justify his attitude towards the defenseless Lamb on some, if not moral, then at least “legal” grounds. It is through the use of the epithet “legitimate” that Krylov’s moral and aesthetic position is revealed. The very meaning of this word, the very “legitimacy” implies that the Wolf wants, with the help of high motives, to justify his behavior in the eyes of... the same Lamb. After all, no one will ever know what exactly happened between the Wolf and the Lamb, no one will care that the Wolf ate the latter - another victim of a ferocious predator... And if anyone found out, would any of that I would dare to condemn the environment in which the heroes of the fable live.
Wolf character:
- Characterizes a person who has power and takes advantage of his position.
In his own words he shows his disregard for the rules and his understanding of his own impunity.
Shows rudeness and anger when addressing the Lamb, calling him both a dog and an unclean snout.
He turns his essence inside out with just the words “It’s your fault that I want to eat,” showing arrogance and undisguised shamelessness.
Moral of the fable "The Wolf and the Lamb"
“The powerful are always to blame for the powerless”... The Wolf and the Lamb is one of the rare fables that begins with a moral. Krylov immediately sets us up for what will be discussed. The prevailing opinion that he who is stronger is right is shown in all its glory. Well, in fact, what can the Lamb prove to the hungry Wolf? But for the Wolf, on the contrary, it would be worth thinking that at any moment a power greater than his would be found. How will he speak then? How's the Lamb?
What conclusions can be drawn?
Krylov in the fable “The Wolf and the Lamb” describes his favorite theme - lawlessness common people. The human vices ridiculed in the fable must be eradicated from human society and corrected. Krylov understands that a force that acts as it pleases is difficult to stop. People like the Wolf don’t even need to justify themselves to anyone! I wanted human power to work to restore justice.
In a fable "Wolf in the kennel"( slide No. 10) we can already talk not so much about allegory as about metaphor. In this fable, the image of a wolf refers to Napoleon. We can say for a long time that Napoleon was cunning, dexterous, intelligent, and knew how to quickly and deftly adapt to the situation. But he did not calculate his capabilities and ended up “in the kennel” instead of the “sheepfold”...
Moral of the fable “Wolf in the kennel”
Krylov’s fable “The Wolf in the Kennel” is a patriotic work about significant historical events 1812. The Hunter is Kutuzov, the Wolf is Napoleon, but even detailed knowledge and understanding of history with a comparison of the behaviors of these individuals does not completely cover the deep moral of the fable “The Wolf in the Kennel.”
In Krylov's fable, much attention is paid to conveying the picturesqueness of all the pictures and the moods of the participants. The anxiety in the kennel is excited by the use of vivid and figurative expressions: “the dogs are eager to fight”... Moreover, the dangerous cunning of the wolf and resourcefulness are especially clearly described: “I did not come to make peace with you for the sake of a quarrel.” The wolf's behavior is hypocritical, hiding his evil essence, he tries to flatter.
Krylov very easily conveys the mind of the Hunter, showing that he does not even listen to the end of the wolf, because his hypocrisy in trying to save his own skin is already clear. Comparing the wolf and the dog, the author gives preference to the second, whose words become the beginning of the emerging morality: “You are gray, and I, my friend, am gray.”
Correlating the image of the wolf with the entire allegorical meaning of the fable, we immediately recognize the conqueror Napoleon in him. But at the same time, the image of a wolf is in no way narrowed to the image of a specific person; it is so broad and comprehensive that the fable does not lose its value even outside the context of the era.
In the fable “The Wolf and the Crane” there are two main characters. The wolf in this fable is cunning and treacherous. And the crane is stupid because it fell for such a trick.
Moral of the story:
Sometimes it happens that instead of gratitude, insidious people say that it is not they who owe it, but we owe it to them that everything ended so well. Indeed, under other circumstances, the crane could become dinner for the wolf. Therefore, when helping such people, you should not count on their gratitude. The moral lies much deeper, since the fable says that the crane not only took its nose, but was also able to save its stupid head from the wolf’s mouth. Listeners need to learn the lesson that when faced with an insidious and evil person in life, you should not help him, expecting to receive a reward. The wolf in this fable is the personification of deceit and cruelty.
The fable “The Wolf and the Sheep” says that the government of animals decided to protect the sheep and passed a law:
How soon will the Wolf begin to rage among the herd,
And he will offend the Sheep,
Then the Wolf is ruled by the Sheep,
Can't make out faces
Grab him by the collar and immediately present him to the court,
To the neighboring forest or to the forest.
But the wolves still dragged the sheep.
Moral of the story: In the time of Krylov there were many laws that protected the rights of only the powerful class, and those who were in serfdom had absolutely no rights. This fable ridicules a law that is impossible to fulfill, and everyone understands that it will not protect the powerless. Strong, i.e. wolves can do as they please, despite the fact that the law is weak, i.e. the sheep could deal with the offenders themselves. IN real life this is impossible to implement, i.e. such a law is just hypocrisy. The wolf in this fable is the image of a landowner, a nobleman who understands that everything is allowed to him.
The fable “The Wolf and the Fox” talks about how the fox, having had its fill in the chicken coop, also grabbed some in reserve. Suddenly a hungry wolf comes to her, the cunning fox doesn’t say a word to him in reserve, but offers him some hay to eat. Confused by the fox's kind words, the Wolf left, fooled and hungry.
Morality:
We gladly give
What we don’t need ourselves.
We'll explain this with a fable,
Because the truth is more tolerably half-open.
The wolf in this fable is the personification of a loser, naive and stupid man who is easy to fool. He'll buy anything sweet Nothing or flattery.
CONCLUSION
The writer has many plots borrowed from the works of other fabulists. But Ivan Andreevich’s connection with folk art, with the language of folk tales was so close that even these borrowed fables do not sound like translations. After all, Krylov’s bright, accurate, lively Russian language could not be borrowed from anyone (slide No. 11).
Krylov's poems, easily remembered, became proverbs and entered the gold fund folk speech. There are many such proverbs and sayings from his fables that remain in the Russian language: “And the casket just opened” (“Casket”), “It’s your fault that I want to eat” (“The Wolf and the Lamb”), “Your stigma is covered in fluff.” "("The Fox and the Marmot"), "Ai, Moska! She is strong to know that she barks at the Elephant” (“Elephant and Moska”), “And Vaska listens and eats” (“Cat and the Cook”) and many, many others no less wonderful and expressive.
Krylov - authentic people's writer, artist enormous power, and his influence on Russian literature was profound and positive.
In Krylov's fables, the vices of people are unobtrusively ridiculed through the images of animals. In folk tales, the Wolf is most often the personification of evil. Following the tradition of folklore, Krylov also attributes various atrocities, deceit, and cruelty to the Wolf. But Krylov’s Wolf is also stupid and naive.
So, in Krylov’s fables there is an image of the Wolf - greedy, insidious, cunning, cruel, naive, stupid, and there is even a Wolf in the image of Napoleon.
Research Institute
Appendix 1. Fables by I.A. Krylov
Wolf and Lamb
The powerful are always to blame for the powerless:
We hear countless examples of this in history.
But we don't write history,
But what they say in fables...
Lamb in hot day went to the stream to drink:
And something must happen,
That a hungry Wolf was prowling around those places.
He sees a lamb and strives for the prey;
But, to give the matter at least a legal look and feel,
Shouts: “How dare you, insolent, with an unclean snout
Here is the pure muddying of my drink
With sand and silt?
For such insolence
I'll rip your head off." -
"When the brightest Wolf allows,
I dare say that down the stream
From the Lordship of his steps I drink a hundred;
And he deigns to be angry in vain:
There’s no way I can make him drink worse."
"That's why I'm lying!
Waste! Never heard of such insolence in the world!
Yes, I remember that you were still last summer
Somehow he was rude to me here;
I haven’t forgotten this, buddy!” -
“For mercy, I’m not even a year old yet.” -
The lamb speaks. - “So it was your brother.” -
"I have no brothers." - “So this is godfather or matchmaker.
And, in a word, someone from your own family.
You yourself, your dogs and your shepherds,
You all want me harm
And if you can, then you always harm me;
But I will clear away their sins with you." -
"Oh, what is my fault?" - “Be quiet! I’m tired of listening.
It’s time for me to sort through your faults, puppy!
It’s your fault that I want to eat.”
He said and dragged the Lamb into the dark forest.
Wolf at the kennel
The wolf at night, thinking of getting into the sheepfold,
I ended up at the kennel.
Suddenly the whole kennel yard rose up -
Smelling gray so close to the bully,
The dogs are flooded in the barns and are eager to fight;
The hounds shout: “Wow, guys, thief!”
And instantly the gates are locked;
In a minute the kennel became hell.
They run: another with a club,
Another with a gun.
“Fire!” they shout, “fire!” They came with fire.
My Wolf sits with his backside pressed into the corner.
Teeth snapping and fur bristling,
With his eyes, it seems he would like to eat everyone;
But, seeing what is not here in front of the herd
And what finally comes
He has to pay for the sheep, -
My cunning man set off
In negotiations
And he started like this: “Friends! Why all this noise?
I, your old matchmaker and godfather,
I came to make peace with you, not at all for the sake of a quarrel;
Let's forget the past, let's establish a common harmony!
And not only will I not touch the local herds in the future,
But I’m happy to fight for them with others
And I affirm with a wolf’s oath,
What am I..." - "Listen, neighbor, -
Here the hunter interrupted in response, -
You are gray, and I, buddy, are gray,
And I have long known your wolfish nature;
Therefore, my custom is:
There is no other way to make peace with wolves,
Like skinning them off.”
And then he released a pack of hounds at the Wolf.
Wolf and Crane
Everyone knows that wolves are greedy;
Wolf, eating, never
Doesn't understand bones
Functions and Features allegorical images fables in world literature
Abdullaeva D.Z.
Andijan State University them. Z.M.Babura, Andijan, Uzbekistan
e-mail: rodlid@
Poets and writers were not always able to openly criticize shortcomings in their works social life. They conveyed their socio-political views to the people through allegorical images.
Allegory, which has existed since ancient times, is considered the basis of the fable, one of the types of symbolism.
Allegory (from Greek allos-other, agoreo-say) is one of the forms of allegory, the conditional transmission of an abstract concept or judgment through a specific image
The allegory entered literature from folklore - from fairy tales about animals: the wolf is an allegory of greed, the fox - cunning, the lamb - helplessness.
Through allegorical images, fabulists expose the universal human vices and shortcomings of people. These fable motifs were similar to real life. Fables, parables, morality plays, apologies and some types of fairy tales were created on the basis of allegorical images. Only, in a genre created on the basis of allegories of images - a fable, the author expressed his educational thoughts, instructions, critical views V figurative meaning. The fable has been known for a long time. Disadvantages of social life, vices and shortcomings are exposed through conditions or events involving objects, living insects, natural phenomena, birds.
Allegorical images are found in the works different nations.
The clumsiness of a bear, the cowardice of a hare, the fearlessness of an eagle, the aristocracy of a lion: all these images are embodied in a solid concept. But there are also images that in the artistic thinking of the people are interpreted as national allegorical expressions.
Aesop's fables were widely known ancient Greece. IN Aesop's fables Stories associated with allegorical images are widespread among other peoples. Fabulists of different times turned to such “ wandering stories" The created allegorical images of different peoples have similar features: the fabulist describes his era, his time and way of life. In this way he teaches the student.
In Aesop's fable "The Fox and the Monkey" during the dance, the monkey presents himself as a ruler. The author showed that the mobility of the monkey corresponds dance movement. The moral of this story is that if you hurry, you will make people laugh.
In the works of the Russian fabulist Krylov, the allegorical image of a monkey, due to its stupid actions and incompetence, falls into different situations. The fable “The Monkeys” describes the confused movements of monkeys caught in a net, which must be separated from each other. In the fable “The Monkey and the Glasses,” the image of a monkey shows an ignorant man who does not know the value of things.
Unfortunately, that's what happens to people,
No matter how useful a thing is, without knowing its price.
The ignorant person is making everything worse about her
And if the ignorant is more knowledgeable,
So he also drives her away.
In both fables there is a hint of the image of a person who does everything in a hurry, without thinking.
This same main topic is close to the theme of the fable of the Uzbek fabulist Muhammad Sharif Gulhaniy (XVIII century) “Zarbulmasal”. The moral of the story is “don’t do what you can’t do, otherwise you’ll get into trouble.” Gulkhani presents this plot in an expanded, poetic, enriched form, using artistic, visual and expressive means.
“Kalila and Dimna” sets out the idea that carpentry is not a monkey’s job: everyone should mind their own business. Based on this idea, Gulhaniy enriches the idea of the fable with the motif: craft and charity are the main thing for a person. In this fable, allegorical images perform an important function in revealing the main didactic idea.
The Russian critic Belinsky noted: “the story and the goal are the essence of the fable; satire and irony are its main qualities" When creating allegorical images important role plays dialogue: reveals the character of the heroes, reflects the era and life.
In the fable, which gives a moral lesson about the consequences of stinginess, the image of a chicken plays a peculiar role, in which the main idea of the work is revealed.
Aesop's fable "The Widow and the Hen" tells how a widow, in order to get a lot of eggs at once, began to feed the hen more. But as a result, the hen became fat and stopped laying eggs altogether. . The plot of Krylov’s fable “The Miser and the Hen” is close in content and conclusions to Aesop’s fable. It says that every day a chicken lays one, not an ordinary, but a golden egg. But this does not satisfy the stingy man and he slaughtered the chicken. In the fable, the author ridicules the greed of the miser, carrying the motif of the golden egg, i.e. greed for wealth.
That by cutting into the Chicken, he will get the treasure in it
And so, forgetting her good deed,
Ingratitude without fear of sin,
He stabbed her. And what? In retribution
He took out simple fucks from her. .
“Cutting up” the chicken enhances the drama of the work, and the golden egg detail is reminiscent of one of the Russian fairy tales, “The Ryaba Hen.”
The fable “The Greedy Old Woman,” which was included in “Kalila and Dimna,” tells the story of an old woman who had only one chicken. She laid one egg every day, but the old woman wanted to get all the eggs at once. Having slaughtered the chicken, the old woman was left with nothing.
So, fables are characterized by an ironic or satirical allegory. The similarity of plots and fable allegorical images suggests that at all times writers and poets wanted to see their era without shortcomings. Fabulists reflected the social problems of their time, hiding their views and thoughts in allegorical images.
Used sources
Babaev T. Fundamentals of literary criticism. – Tashkent, Uzbekistan, 2002.
Daniyarov Kh., Mirzaev S. Reflections on the fable genre // Problems of Uzbek literature. – Tashkent, Uzadabiynashr, 1959. – p. 190.
Kalila and Dimna. – Tashkent, Literature and Art, 1977.
Brief literary encyclopedia. - M., 1962.
Krylov I.A. Fables. Dramaturgy. – M., 1982.
History of Uzbek literature. – Tashkent, Fan, 1978.
Gulhaniy. Zarbulmasal. – Tashkent, Katartal, 19
Aesop. Fables. (Translated by D. Kuranov). – Tashkent, Chulpan, 2001.
Adeyanov A.O., Kravtsova O.A., Fadina D.Yu.
Branch of Samara State University of Architecture and Civil Engineering in Belebey, Russia
(Faculty of Engineering and Economics, 2nd year)
Scientific hands: V.V.Varlamova, candidate of philol. Sc., Associate Professor
Human verbal and mental activity is determined by interrelated functions - communicative, cognitive, nominative, interpretive. The named functions of language are characterized by its very nature and essence, that is, they act as the main functions of the existing language, functioning in the transmission of any type of utterance.
The communicative function has been studied in linguistics throughout its history, but currently it is filled with deeper content in connection with the appeal to the study of language in its real functioning.
On foreground knowledge comes first driving forces, the causes of linguistic phenomena that come from humans. Isolating and limiting the range of linguistic phenomena associated with the study of the human factor in language leads to the need to distinguish between the biological, social and individual plane of existence of the person himself. The highlighting of the first plan when considering a person is due to the fact that he is a representative of everything human race endowed with a combination of biological, physical, psychological characteristics. In the second plane, a person acts as a social being, connected by close ties with his people, his civilization and with certain social groups. The third level of consideration of a person is associated with understanding him as a specific unique personality. Besides, talking man viewed as a manager speech activity, capable of transmitting and perceiving certain information. The minimum unit of communication is a speech act in which a specific speech intention related to the topic and communicative attitudes of the interlocutor is realized.
The main types of literature include messages, orders, requests, questions, comparisons, etc. The act of speech communication as dynamic system defines the functions of all its components.
It should be noted that in connection with the cognition of various objects and phenomena enshrined in a linguistic nomination, as well as with the defeat of communicative acts, the unity of nominative and communication means language. “The subject-predicate structure simultaneously captures both the act of nomination and the act of communication, for it turns nomination into a message.”
The nominative function combines the communicative and cognitive functions, since, on the one hand, the conditions of communication dictate the choice of one type of nomination or another, and on the other hand, the choice of the naming principle is made on the basis of the cognitive work of thinking. It should be noted that there is a special type of thinking - “linguo-creative” thinking. According to V.A. Serebrennikov, linguistic creative thinking has a dual focus: “It, on the one hand, reflects surrounding a person reality, and on the other hand, is most closely connected with the available resources of language.”
The specificity of linguo-creative thinking is determined by the interpretive function of language, that is, the ability to designate the fact of extra-linguistic reality in different ways. It is closely related to cognitive and communication functions.
The interpretive function is revealed in the implementation of the global concept of the utterance (text), when the speech subject develops the main theme. The speaker's creation of a rough outline of the utterance indicates the process of cognitive processing of information.
Cognitiveness is understood as the property of language to represent in a generalized form phenomena and properties known by man. outside world. Cognitive function contributes to the creation of a certain fund of knowledge. By transferring his knowledge to another, an individual separates himself from both the other individual and the world about which he is transmitting knowledge.
The category of quantity is “universal, that is, a logical category, a necessary step in the knowledge of reality, since quantity is a reflection of one of the most general properties existence itself. It is no coincidence that the mental category of quantity is considered as a result of reflecting the quantitative certainty of being. Quantity is such a certainty of a thing, thanks to which it can be divided into homogeneous parts and put the parts together, that is, homogeneity, similarity, similarity of parts or objects is a distinctive feature of quantity.
In the light of cognition, the functional semantic category of quantity should be considered as a category that conveys certain mental content, reflecting various layers human experience and having a variety of formal means of expression both at the lexical and grammatical level.
The category of number is possessed by nouns with objective and personal meaning. For most nouns, the singular form is a functional dominant, that is, the singular acts as the initial form when determining quantity. These are nouns that name household objects (sofa, table), animals (squirrel, fox), persons (girl, teacher), clothes (skirt, suit), plants (spruce, birch), etc. For certain groups of nouns, the functional dominant is the form plural, which is characterized by more high degree frequency when denoting quantity. These are nouns denoting paired objects (shoes, socks), varieties of vegetables and fruits (peaches, tomatoes); naming people by nationality, profession, occupation (Poles, pilots, generals), etc.
Quantitative relations are realized in the oppositions of collectiveness - universality, the collective category is considered as an integral, indivisible set of homogeneous objects, which, following O. Jespersen, is called “unity of the highest order,” emphasizing that from a logical point of view, the collective category combines the features of individual and general concepts.
In language this is reflected in the fact that the collective category closes, on the one hand, with grammatical category numbers, and on the other hand, with the lexical category of mass, non-discrete substance (such as “oil”, “copper”) or a non-discrete idea of a multitude of realities (students, foliage).
The category of universality has been studied in linguistic literature not enough. The meaning of universality is divided into two types: generalized (generalized) and event-related universality. Generalized universality covers the totality of all class units, for example: nobility, peasantry, the connection of collective nouns with the category of generalized universality applies only to those collective nouns, which denote a set of people united on some basis: nobility - on the basis of belonging to a certain class; teaching - by profession, etc. For example: Russian nobility distinguished by his nobility, intelligence, desire to defend his homeland, talent... (V. Zakrutkin). Event universality is associated with the names of objects and the totality of persons included in the field of view of the speaker, that is, it is a situationally oriented universality, conditioned reality: Marya Kirillovna listened to the noise of leaves on the trees (A.S. Pushkin).
The category of quantity interacts with the subjective factor, that is, with the speaker’s intentions that determine the choice linguistic means to indicate quantity. The human factor is included in all evaluative quantitative words (majority, minority).
It should be noted that the category of quantity is associated with an excretory function that makes it possible to isolate, separate a single denotation or part of denotations from the general whole. Wed. : This machine stood out from all others from the very first second (A. Likhanov). Near Lida, they joined the group of a major from the army headquarters, which included several people from the rear of their defeated regiment... (V. Bykov).
The excretory function is also expressed using the pronouns someone, some, some, in which the meaning of quantity is intertwined with the semantics of uncertainty. For example: “One of the two is still the boss, and most often it’s the woman,” muttered the driver (E. Yevtushenko). Some of those present tried to talk to him... (A. Pinchuk).
Used sources
Basics of constructing a functional grammar of the Russian language for non-Russians. – Ufa: BSU Publishing House, 1991 – 182 p.
Metzler A. A. Pragmatics of communicative units. – Chisinau: Shtinta, 1990. - P. 3
Serebrennikov B. A. On the materialistic approach to the phenomena of language - M.: Nauka, 1983. - P. 76
Philosophical Encyclopedia. – M., 1962. – P. 552.
Panfilov V.Z. Epistemological aspects of philosophical problems of linguistics. – M., 1982. – P. 227.
Espersen O. Philosophy of Grammar. – M., 1958. – P. 98.
Ali Mugergansky and the era: an appeal to conscience
Alieva H.A.
Dagestan State Pedagogical University, Makhachkala, Russia
(Faculty of Dagestan Philology, 1st year master’s student)
e-mail: Khankhanumalieva@
Scientific hands: F.I. Kazimagomedova, candidate of philol. Sc., Associate Professor
Looking into the development of the literary process of the twentieth century, it can be noted that the 20s and 30s were one of the most terrible pages in the history of Russia. These years cost the country millions of victims, and the victims, as a rule, were talented people V different areas, leaders, scientists, poets. The “price” of faith and struggle for a “happy future” became higher and higher. The country's leadership sought to get rid of all free-thinking people.
Today there is an acute lack of understanding of the literary process Soviet period, incompleteness of its coverage. New facts, names, events associated with these names are revealed. This is especially true of the initial stage, the formation of which sometimes took place in the most acute, going beyond the literary ideological struggle. For a long time for obvious reasons, the literary process of the 20s - 50s of the last century was interpreted extremely tendentiously and one-sidedly, from the point of view of the so-called party literature. At the same time, many phenomena, names and even entire movements were subjected to devastating criticism or kept silent.
The literature of this era was divided, as it were, into official, emigrant and secret (created, but not passed by censorship or declared an “enemy of the people”).
When characterizing the modern literary process, it should be noted that the attitude towards it is far from equal. However, the fact is indisputable that due to the specific literary twentieth century, when the field of literature was combined with the field of power, part modern literature, especially in the first post-perestroika decade, the so-called “returned” literature became (in the 80-90s, E. Zamyatin’s novel “We”, M. Bulgakov’s story “ dog's heart", "Requiem" by A. Akhmatova and many others. other texts).
One of the “hidden” but still not returned poets is Ali Mugergansky.
In 1930 of the last century, riots broke out in Southern Dagestan against politics Soviet power, which forcibly separated one people into two states... The region, driven to poverty and lawlessness, took up arms.
Among the participants in the uprising were both ordinary people and representatives of governing bodies. The uprising did not last long, it was brutally suppressed, many were sent to hard labor, the leaders were hanged or shot. Magomed Sheikh Shtulsky, a well-known educator and organizer of the uprising in Southern Dagestan, was shot without trial.
These events were reflected in the work of the above-mentioned Ali Mugergansky, namely in the poem “The Uprising of 1930,” which had 18 stanzas. The author acts here both as a geographer and as an analyzer of events, pointing out that the uprising covered many Lezgin regions, as well as the villages of Tabasaran. The poet was able to briefly and concisely, but clearly and accessiblely, explain to the reader the goals of the uprising. And although A. Mugergansky did not openly show his antipathies or sympathies for the events, they were visible through the lines, especially since the author by that time was already known for his frank creativity, his artistic courage in assessing reality. In Lezgin literature, among the works dedicated to this event, there is no equal to A. Mugergansky’s poem in terms of breadth of coverage and depth of depiction.
There is no doubt that the uprising of 1930, the brutal reprisal against the rebels, the exile and death of its participants, as well as other upheavals in the lives of acquaintances, friends, fellow villagers, and personal life were of no small importance in the subsequent formation of the poet’s work.
The frank expression of one's ideals and feelings, the bold support of the rebels in the poem could not go unnoticed by the relevant authorities, which entailed certain punishment.
(Similar facts of the history of Lezgin literature were already known. Let us at least recall the classic Dagestan literature Etim Emin, who at one time also had the courage to support the rebels, as evidenced by the poems “Riots of 1877”, “Naibu Hasan”, etc.)
The fate of A. Mugergansky was repeated by a number of poets and writers of the 60-80s of the twentieth century.
Among them, without a doubt, “one can include A. Saidov, Z. Rizvanov, Sh. Kaflanov and many others”: . The facts of their biography, in our opinion, are that stage in the literary process of the twentieth century that is still subject to careful research and study.
Being the son of a mullah, Ali Mugergansky grew up in an atmosphere of deep spirituality and faith in the Almighty. At the beginning of the last century, he himself was a mullah in upper Mugergan, and in the 20s he served as imam in a mosque in Lower Mugergan. In the first years of Soviet power, A. Mugergansky, like many others, hoped that with new government there will be more opportunities for spiritual enlightenment. But the hopes were not justified. In addition, an attack on religion began, up to the desire for its complete destruction.
In the 30s, the process of closing mosques began, intimidation and threats against believers, especially clergy. Sometimes they were classified as kulaks with all the ensuing consequences. Famous theologians were sent to prison and exile.
In August 1929, by a special government decree, the Ajam script, which was based on Arabic graphics and on which highly artistic works of the peoples of Dagestan were created over many centuries, was replaced with Latin.
At the same time, official government intervention in the management of religion increased.
In the created conditions, religious organizations were forced to agree to all the conditions of the new government. It is known that even the appointment of new muftis and imams was carried out with the consent of the competent authorities or with their direct instructions. The state has already required religious figures their acceptance of the philosophy and ideology of the new government.
In the second half of the 20th century, the complete victory of socialism in the USSR was announced, claiming, among other things, its victory over religion. At the same time, it was announced that a new method had emerged in the literature - socialist realism, full of socialist romanticism and idyll.
In July 1925, the Central Committee of the RCP (b) adopted a resolution “On the party policy in the field of fiction,” which played a fundamental role in the history of development Soviet culture- This is the generally accepted point of view of historians. Soon after this, the Russian Association of Proletarian Writers (RAPP) was created, which, through the so-called “tactful and careful attitude (towards writers who have not fully accepted the socialist ideology), would provide all the conditions for their fastest possible transition to the side of the communist ideology”: .
Under these conditions, artists like Ali Mugergansky, who realistically depict reality without embellishing it, pointing out both the positive and the negative (in a word, poets who did not accept the method of socialist realism), were not welcome.
An interesting fact is that close friend Ali Mugergansky S. Stalsky, dying, could not openly indicate in his will that he should be buried facing the South, that is, facing the Kaaba, according to the Muslim religion. He replaced the name of this place with Shalbuzdag, also located in the south and revered by Muslims as sacred.
A. Mugergansky was an eyewitness to how the old foundations of his fathers and grandfathers collapsed. They were deprived of centuries-old spiritual values, and new ones were not created, and even those that were created did not satisfy the entire population (the poet outlined his thoughts about this fact in the poem “Mosque”).
For the poet, difficult, dark times are coming. In the poem “To Friend Suleiman” he says that it has become impossible to distinguish friend from enemy. The poet in the poem expresses concern that his letter may harm S. Stalsky and therefore suggests that he be careful.
The development of literature was hampered by the oppressive atmosphere totalitarian state, especially thickened in the late 30s. Repressions from above were supplemented by mass denunciations from below, which A. Mugergansky did not escape. In the early 30s, following a false denunciation by the chairman of the village council, to whom A. Mugergansky refused the wedding ceremony, since he had not yet divorced his first wife, the poet was arrested until the circumstances were clarified. From this period the misadventures of the newly-made “enemy of the people” began.
After the second arrest in 1937, when he spent six months in inhumane conditions in the Anzhi fortress, where the living conditions of “enemies of the people,” often imaginary, were worse than those of repeat offenders, the seriously ill poet was returned home, where he lived for only a few days .
During his lifetime, Ali Mugergansky was known as a poet and educator. Corresponded with famous people. The favorite form was letters in verse. There are especially many similar letters written to S. Stalsky and received from him. However, not a single collection of poems by Suleiman Stalsky contains a single line where the name of Ali Mugergansky is mentioned, although Homer of the 20th century has many poems and messages received from him. Agree, it looks unnatural.
The main reason for this, it seems to us, is the fact that A. Mugergansky was arrested and declared an enemy of the people. Compiled by poetry collections Even the names of imaginary “enemies of the people” were taken out of S. Stalsky’s works, trying not to harm the author. And in subsequent editions they were completely forgotten. Thus, the poet A. Mugergansky moved from the category of “hidden” to the category of “forgotten”.
And the science: Reality and future Materials III International... annually International scientific and practical conference « The youth And the science: reality and future”, aimed at creating...
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DocumentAnnually International Scientific and Practical Conference " The youth And the science: reality and future”, aimed at creating... . Korchagina M. B. - M., 1998. – P. 48. Scientific publication The youth And the science: reality and future Materials III International...
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DocumentConferences of students, graduate students and young scientists " The youth And the science: reality and future". The first conference was held... Academy of Engineering and Economics, Russia 579 The youth And the science: reality and future Khodzhaev R.A. Tajik State...
- “Two Doves” - a philosophical fable,
- “The Wolf and the Lamb” is a fable of a social type,
- “The Wolf in the Kennel” is a historical work,
- “The Pig under the Oak Tree” is an everyday fable.
Usually the allegory of each animal in a fable is a reflection of some human character or quality. So, a monkey and a pig are rudeness, a donkey is weak intelligence, a cat is cunning, a rooster is mediocrity, etc. Such allegory is found in Aesop's fables. He created fables for the sake of establishing morality in society. And the allegory technique helped him mockingly highlight some human vice.
In Krylov's fables, not only morality is significant, as a high criterion of human behavior within society. The author presents the story in a witty and interesting way. And the image of any animal combines a complex of qualities that make up a specific human character. Thus, the image of a fox is simultaneously formed by cunning, flattery and deceit. And based on its character, the fox behaves this way in every certain everyday situation. In Krylov's fables, the most common hero is a donkey. He is characterized by stupidity, ignorance, and stubbornness. And these qualities always appear in fables.
It is obvious that from folklore in the minds of Russian people certain images of many animals are formed, most often a fox, a wolf, a bear, a hare. The famous fabulist applies this in his creations. And this is where the nationality of his works lies. Although, not all of his animals display complex characters. So the bee symbolizes hard work. Also, each animal in the author also personifies a representative of a certain social category. Leo - ruler, king, power. Fox, bear - officials, court retinue. Frog, ant - petty bureaucratic class, peasants. And very often the human character reflected in the animal is assimilated with its social distinctive features. For example, in the work “The Education of a Lion” the old lion displays classic look Russian Tsar. A lion entrusts the upbringing of his cub to a foreigner. He himself cannot teach his son the art of governing the country, because he simply does not know how this is done and what is actually happening in his state. As a result, the lion cub becomes the same as its father, alien to own people, isolated from national foundations.
Often in Krylov’s fables certain personalities are hidden behind the images of animals. For example, the indicated lion cub is Alexander I; The wolf from the work “The Wolf in the Kennel” is the commander Napoleon.
The artistic idealization and realism of Krylov’s works lie in the scale of generalization, in the accuracy of the choice of facts that inspired the author to write the fable. And the author creates real characters, while generalizing and classifying the very situation in which their actions take place. These techniques reflect the realism, innovative approach and constant relevance of his fables.
Which has an allegorical meaning. Usually one of the main types of allegory in a fable is allegory - the embodiment of an abstract idea in a material image. As a rule, the main characters of a fable are conventional fable animals. It is generally accepted that images of animals are always allegorical.
In I. A. Krylov’s fables, animals act more often than people. Animals are present in all types of Krylov’s fables: philosophical (“Two Doves”), social (“The Wolf and the Lamb”), historical (“The Wolf in the Kennel”), everyday (“The Pig under the Oak”). It is generally accepted that each animal in the fabulist is an allegory of some human character trait, for example, Monkey, Pig - an allegory of ignorance; Donkey - nonsense; Cat - tricks; Rooster, Cuckoo - mediocrity, etc. The allegorical nature of animal images originates from Aesop's fables.
Aesop wrote fables for the sake of establishing morality in society, and allegory helped him ridicule a certain human trait, a bad inclination, it served as an illustration of morality. In fables, not only morality is important for Krylov as the highest category of human behavior in society; in many ways, Krylov is a follower of La Fontaine, a picturesque fabulist. We read Krylov's fables not because of the moral, but because of the most interesting and witty story told. Therefore, one may not agree that the image of any animal in Krylov is just an allegory of one human vice. In most cases, Krylov’s image of an animal includes a set of certain qualities and properties that make up a certain human character.
For example, the image of the Fox consists not of cunning or flattery alone, but of cunning, flattery, and deceit at the same time. And in accordance with the endowed character, she behaves in each specific everyday situation. In the fable “The Peasant and the Fox,” the Fox at the end acts as a Fox should, without contradicting his character:
The fox has become more satisfying,
The fox became fatter.
But things didn’t become more honest...
...Choosing a darker night,
Kumanka strangled all the chickens...
The donkey, one of the most frequently encountered characters in Krylov's fables, is also endowed with a human character. He is stupid, stupid, ignorant, stubborn. And in the fable he always acts like a Donkey. The man entrusted him with guarding the garden. “The donkey, chasing the birds with all his donkey legs, got into such a gallop that he crushed and trampled everything in the garden.” Zeus made him taller, but still the Donkey remained a donkey:
Not even a year has passed
How everyone found out who Donkey is:
My stupidity has become a proverbial donkey.
And they carry water on a donkey.
From folk tales and proverbs, integral images of many animals, such as foxes, wolves, and hare, are formed in the minds of Russian people. And Krylov uses this in his fables, which is what makes Krylov’s fables popular. But, of course, not all the animals in his fables represent complete characters. For example, a bee is just a generalized allegory of hard work.
Every animal in Krylov also personifies a representative of some social group. The lion is always the king; Wolf, Fox, Bear - court nobles, officials; Lamb, Frog, Ant are “little” people standing at the very bottom of the social ladder: minor officials, peasants. Often the human character with which the beast in Krylov’s fable is endowed merges with its social characteristics, and then real social types existing in society appear before the reader. For example, in the fable “The Education of Leo”, behind the image of the old Leo we see a typical image of the Russian Tsar. Leo trusts to raise his Lion Cub to a representative of another nation, a foreigner; he cannot teach his own son to run the state, because he does not know how to do it, does not know what is really going on in his state. And as a result, the Lion Cub grows up to be the same as his father, a stranger to his people, cut off from the national soil.
Often in I. A. Krylov’s fables it is easy to detect specific historical figures behind the images of animals. The lion cub from the fable “The Education of the Lion” is Alexander I; The wolf from the fable “The Wolf in the Kennel” is Napoleon. One could even say that the Wolf is not an allegory, but rather a metaphor related to Napoleon. In addition, in this fable, as in many others, the situation itself is metaphorical. One can, of course, talk for a long time about the fact that Napoleon wanted to conquer Russia, invaded Russia, reached Moscow, but, without calculating the enemy’s strength, fell into a trap and died. In short, this situation can be described as follows: a wolf in a kennel. The cuckoo is a metaphor, a direct allusion to the journalist Bulgarin, whom we meet in two fables: “The Cuckoo and the Rooster”, “The Cuckoo and the Eagle”.
But it would be wrong to tie Krylov’s fables only to any specific historical facts and events, to see behind the images of animals in historical fables specific people that era. The artistic perfection and realism of I. A. Krylov’s fables lie precisely in the breadth of generalization, in the typicality, in the accuracy of the selection of the fact that forms the basis of the fable. The meaning of the fable, the images of animals implying specific persons, always much wider than itself historical fact, which prompted the fabulist to create this fable. Although the fable "Quartet" refers to the opening State Council and behind the images of animals we can discern specific historical figures of that time, yet the “Quartet” is perceived as a deep generalization that carries a universal meaning.
So, Krylov’s images of animals are not just allegories of any one human trait; many of them convey the many-sided human character, represent a certain class type and are a metaphor for a specific historical person. Krylov creates living, typical, realistic characters, generalizing and typifying the very situation in which they act. This is the realism, innovation and durability of I. A. Krylov’s fables.
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