1914:
628:
544:
556:
605:
675:, but always with his own witty touch and reinterpretation. In Russia his language is considered of high quality: his words and phrases are direct, simple and idiomatic, with color and cadence varying with the theme, many of them becoming actual idioms. His animal fables blend naturalistic characterization of the animal with an allegorical portrayal of basic human types; they span individual foibles as well as difficult interpersonal relations.
582:
762:
286:
67:
1259:
1933:
203:
952:
668:, who blocked publication of some of his work. In the case of "The Grandee" (1835), it was only allowed to be published after it became known that Krylov had amused the Emperor by reading it to him, while others did not see the light until long after his death, such as "The Speckled Sheep", published in 1867, and "The Feast" in 1869.
566:
374:, he accompanied him as a secretary and tutor to his children, resigning his position in 1803. Little is known of him in the years immediately after, other than the commonly accepted myth that he wandered from town to town playing cards. By 1806 he had arrived in Moscow, where he showed the poet and fabulist
988:" (VII.12) in his own "Man and his shadow". Much the same can be said of his treatment of "The Fly and the Bee" (La Fontaine's The Fly and the Ant, IV.3) and "The Wolf and the Shepherds" (La Fontaine's X.6), which dispense with the circumstantiality of the original and retain little more than the reasoning.
536:
stamp issued in 1969 on the bicentenary of his birth is indebted to
Briullov's late portrait. The same portrait is accompanied by an illustration of his fable "The wolf in the kennel" on the 40 kopek value in the Famous Writers series of 1959. The 150th anniversary of Krylov's death was marked by the
983:
Krylov's first three fables, published in a Moscow magazine in 1806, followed La
Fontaine's wording closely; the majority of those in his 1809 collection were likewise adaptations of La Fontaine. Thereafter he was more often indebted to La Fontaine for themes, although his treatment of the story was
703:
is transposed into a satire on censorship in "The Cat and the
Nightingale" The nightingale is captured by a cat so that it can hear its famous song, but the bird is too terrified to sing. In one of the mediaeval versions of the original story, the bird sings to save its nestlings but is too anxious
663:
has remained popular ever since. His fables were often rooted in historic events and are easily recognizable by their style of language and engaging story. Though he began as a translator and imitator of existing fables, Krylov soon showed himself an imaginative, prolific writer, who found abundant
639:
430:
Portraits of Krylov began to be painted almost as soon as the fame of his fables spread, beginning in 1812 with Roman M. Volkov's somewhat conventional depiction of the poet with one hand leaning on books and the other grasping a quill as he stares into space, seeking inspiration. Roughly the same
409:
After 1830 he wrote little and led an increasingly sedentary life. A multitude of half-legendary stories were told about his laziness, his gluttony and the squalor in which he lived, as well as his witty repartee. Towards the end of his life Krylov suffered two cerebral hemorrhages and was taken by
393:
Krylov's first collection of fables, 23 in number, appeared in 1809 and met with such an enthusiastic reception that thereafter he abandoned drama for fable-writing. By the end of his career he had completed some 200, constantly revising them with each new edition. From 1812 to 1841 he was employed
712:
Establishing the original model of some fables is problematical, however, and there is disagreement over the source for Krylov's "The swine under the oak". There, a pig eating acorns under an oak also grubs down to the roots, not realising or caring that this will destroy the source of its food. A
480:
carved a portrait bust of Krylov. It may have been this or another that was presented by the
Emperor to his son Alexander as a new year's gift in 1831. A bust is also recorded as being placed on the table before Krylov's seat at the anniversary banquet held in his honour in 1838. The most notable
962:
Krylov is sometimes referred to as 'the
Russian La Fontaine' because, though he was not the first of the Russian fabulists, he became the foremost and is the one whose reputation has lasted, but the comparison between the two men can be extended further. Their fables were also the fruit of their
984:
independent. It has been observed that in general Krylov tends to add more detail in contrast with La
Fontaine's leaner versions and that, where La Fontaine is an urbane moralist, Krylov is satirical. But one might cite the opposite approach in Krylov's pithy summation of La Fontaine's lengthy "
979:
in about 1819, and so was able to read Aesop in the original rather than remaining reliant on La
Fontaine's recreations of Latin versions. The major difference between them, however, was that La Fontaine created very few fables of his own, whereas the bulk of Krylov's work after 1809 was either
851:
rondels during the 1930s, but prior to that he had decorated a soup plate with the same design in different colours. In this attractive 1928 product the action takes place in three bands across the bowl of the dish, with the guest taking flight in the final one. With him runs the cat which was
683:(VI.13) the reference point as it relates how the reptile seeks a place in the peasant's family, presenting itself as completely different in behaviour from the normal run of snakes. To Krylov's approbation, with the ending of La Fontaine's fable in mind, the peasant kills it as untrustworthy.
749:
is practically quoted in a speech made by the wolf. This was shortly followed up by the broadsheet caricature of Ivan
Terebenev (1780–1815), titled "The wolf and the shepherd", celebrating Russia's resistance. The fable of "The swan, the pike and the crawfish", all of them pulling a cart in a
789:. This scenario was "Demyan's Fish Soup", in which a guest is plied with far more than he can eat. Two of those who took the subject up were Andrei M.Volkov (1829-1873) in 1857, and Andrei Popov (1832–1896) in 1865 (see left). Another fable, originally adapted from La Fontaine's
781:
Factory in 1949. This was the perfect choice of subject, since the humour of Krylov's poem centres on their wish to get the seating arrangement right as an aid to their performance. The format therefore allows them to be placed in the various positions described in the fable.
359:, although none achieved a large circulation or lasted more than a year. Despite this lack of success, their satire and the humour of his comedies helped the author gain recognition in literary circles. For about four years (1797–1801) Krylov lived at the country estate of
504:, where much of his childhood was spent. It was erected on the centenary of Krylov's death in 1944 and represents the poet standing and looking down an alley lined with metal reliefs of the fables mounted on plinths. A later monument was installed in the
627:
695:
is even thinner. Though both fables concern being made the dupe of another, Krylov tells of how one boy, rather than picking chestnuts from the fire, supports another on his shoulders as he picks the nuts and receives only the rinds in return.
802:
382:, "The Oak and the Reed" and "The Choosy Bride", and was encouraged by him to write more. Soon, however, he moved on to St Petersburg and returned to play writing with more success, particularly with the productions of "The Fashion Shop" (
963:
mature years; they were long meditated and then distilled in the language and form most appropriate to them. La
Fontaine knew Latin and so was able to consult classical versions of Aesop's fables in that language – or, as in the case of "
481:
statue of him was placed in the Summer Garden (1854–55) ten years after his death. Regarded as a sign of the progress of
Romanticism in Russian official culture, it was the first monument to a poet erected in Eastern Europe. The sculptor
708:
in which an offer of support by the tree is initially turned down. In the Russian story, a hop vine praises its stake and disparages the oak until the stake is destroyed, whereupon it winds itself about the oak and flatters it.
398:, first as an assistant, and then as head of the Russian Books Department, a not very demanding position that left him plenty of time to write. Honours were now showered on him in recognition of his growing reputation: the
593:
437:
750:
different direction, originally commented sceptically on a new phase in the campaign against Napoleon in the coalition of 1814 (although some interpreters tend to see it as an allusion to the endless debates of the
678:
Many of Krylov's fables, especially those that satirize contemporary political situations, take their start from a well-known fable but then diverge. Krylov's "The Peasant and the Snake" makes La Fontaine's
1993:
1963:
523:'s Soviet Square. The two were friends and Pushkin modified Krylov's description of 'an ass of most honest principles' ("The Ass and the Peasant") to provide the opening of his romantic novel in verse,
801:. That depicts the aging maid accepting the proposal of a balding, hunchbacked suitor who kneels at her feet, while her anxious father listens behind a curtained doorway. In 1976, the painting was
1948:
872:
in 1864 to a German translation. These included "The quartet", "The eagle and the cuckoo", "The ant and the dragonfly", "The ass and the nightingale", and "Parnassus". He was followed by
880:
for medium voice and piano (op.33), which included "The musicians", "The peasant and the sheep", "The eagle and the bee", and "The bear among the bees". This was followed in 1905 by
1998:
1988:
234:
808:
Illustrated books of Krylov's fables have continued in popularity and at the start of the 20th century the styles of other new art movements were applied to the fables. In 1911
532:
Some portraits of Krylov were later used as a basis for the design of commemorative stamps. The two issued in 1944 on the centenary of his death draw on Eggink's, while the 4
785:
Not all the fables confined themselves to speaking animals and one humorous human subject fitted the kind of genre paintings of peasant interiors by those from the emerging
543:
473:, but the group, along with many others, was ultimately destined to appear in the right foreground of Chernetsov's immense "Parade at Tsaritsyn Meadow", completed in 1837.
1687:
721:". Although that has no animal protagonists, the theme of overlooking the tree's usefulness is the same. On the other hand, the French critic Jean Fleury points out that
1274:
265:
of all Russian authors. Formerly a dramatist and journalist, he only discovered his true genre at the age of 40. While many of his earlier fables were loosely based on
555:
512:, Daniel Mitlyansky, and the architect A. Chaltykyan. The seated statue of the fabulist is surrounded by twelve stylised reliefs of the fables in adjoining avenues.
843:
was decreed shortly afterwards, such experiments were no longer possible. However, "Demyan's Fish Soup" reappears as a suitable peasant subject in the traditional
537:
striking of a two ruble silver coin in 1994. He is also commemorated in the numerous streets named after him in Russia as well as in formerly Soviet territories.
312:. His father, a distinguished military officer, resigned in 1775 and died in 1779, leaving the family destitute. A few years later Krylov and his mother moved to
2008:
820:, which included "The beggar and fortune" (see below) and "Death and the peasant". A decade later, when the artistic avant-garde was giving its support to the
402:
admitted him as a member in 1811, and bestowed on him its gold medal in 1823; in 1838 a great festival was held in his honour under imperial sanction, and the
2003:
737:
In that some of the fables were applied as commentaries on actual historical situations, it is not surprising to find them reused in their turn in political
971:
into his own time. Krylov had learned French while still a child and his early work followed La Fontaine closely. Though he lacked Latin, he taught himself
1953:
1279:
928:
1627:
798:
1423:
1958:
500:
Later monuments chose to represent individual fables separately from the main statue of the poet. This was so in the square named after him in
1746:
1728:
1456:
1978:
1702:
1388:
777:
and on matchbox covers.). The four animals from the very popular "The Quartet" also appeared as a set, modeled by Boris Vorobyov for the
1174:
1481:
1015:
2013:
754:). It was reused for a satirical print in 1854 with reference to the alliance between France, Britain and Turkey at the start of the
691:
and Krylov dispenses with the deliberations of the mice altogether. The connection between Krylov's "The Two Boys" and La Fontaine's
604:
529:. So well known were Krylov's fables that readers were immediately alerted by its first line, 'My uncle, of most honest principles'.
718:
581:
1794:
1906:
1404:
1747:"Illustration for I. A. Krylov's fable "the Peasant and death" by Alexander Alexandrovich Deineka: History, Analysis & Facts"
1680:
664:
original material in his native land and in the burning issues of the day. Occasionally this was to lead into trouble with the
1806:
1729:"The Cook and the cat (illustration to the fable of Krylov) by Alexander Alexandrovich Deineka: History, Analysis & Facts"
1684:
1826:
1114:
985:
751:
1550:
729:", is the more likely inspiration, coalescing as it does an uncaring pig and the theme of a useful tree that is maltreated.
1199:
1139:
964:
66:
31:
1010:
1983:
1102:
1037:
700:
345:
659:
By the time of Krylov's death, 77,000 copies of his fables had been sold in Russia, and his unique brand of wisdom and
1031:
399:
324:, but gave it up after his mother's death in 1788. His literary career began in 1783, when he sold to a publisher the
1326:
671:
Beside the fables of La Fontaine, and one or two others, the germ of some of Krylov's other fables can be found in
294:
888:
choir (op.36), including "The frog and the ox" and "The swan, the pike and the crayfish". At about this time too,
1764:
1079:
742:
634:
561:
766:
722:
680:
489:
that represent scenes from the fables. Shortly afterwards, he was included among other literary figures on the
1714:
1624:
1574:
1538:
1562:
1482:"Coin: 2 Roubles (225 years I.A. Krylov) (Russia) (1992~Today – Numismatic Product: Famous People) WCC:y343"
611:
520:
443:
395:
379:
270:
1604:
1212:
1152:
1093:
1073:
1067:
873:
786:
704:
to perform well. Again, in his "The Hops and the Oak", Krylov merely embroiders on one of the variants of
692:
371:
138:
1872:
1432:
1061:
1055:
713:
final verse likens the action to those who fail to honour learning although benefitting from it. In his
572:
1589:
390:). These satirised the nobility's attraction to everything French, a fashion he detested all his life.
332:) that he had written at 14, although in the end it was never published or produced. Receiving a sixty
847:
of Aristarkh A.Dydykin (1874 - 1954). Some of these was executed in bright colours on black lacquered
485:
seats his massive figure on a tall pedestal surrounded on all sides by tumultuous reliefs designed by
1973:
1968:
1372:
1108:
1001:
833:
705:
616:
588:
505:
490:
448:
432:
403:
1890:
1043:
924:
852:
rubbing itself against his leg in the middle episode. About the rim jolly fish sport tail to tail.
778:
367:
238:
1866:
Translations, memoirs of the author and notes on the fables in English translation can be found in
991:
The following are the fables that are based, with more or less fidelity, on those of La Fontaine:
2018:
1460:
1187:
821:
454:
848:
1881:
1877:, prose translations and a memoir, originally published London 1869; 4th augmented edition 1883
1385:
840:
825:
672:
516:
458:
356:
1918:
1264:
One or more of the preceding sentences incorporates text from a publication now in the
980:
indebted to other sources only for the germ of the idea or the fables were of his invention
905:
889:
861:
844:
746:
462:
419:
363:
313:
250:
190:
134:
1358:
1346:
1691:
1631:
1511:
1392:
1120:
936:
726:
684:
494:
466:
415:
411:
1643:
1049:
955:
940:
809:
486:
477:
208:
124:
120:
773:
The fables have appeared in a great variety of formats, including as illustrations on
348:
and it was probably under their influence that he wrote his other plays, of which his
1942:
1270:
1265:
976:
829:
794:
717:(1868), the Russian commentator V.F.Kenevich sees the fable as referring to Aesop's "
525:
509:
470:
375:
321:
290:
72:
761:
687:
uses another fable of La Fontaine (II.2) only for scene-setting. Its real target is
285:
1193:
262:
1848:
1823:
Like a bomb going off: Leonid Yakobson and Ballet as Resistance in Soviet Russia
1776:
972:
813:
793:, was Krylov's "The Dainty Spinster", which lent itself to the social satire of
755:
738:
482:
414:. After his death in 1844, he was buried beside his friend and fellow librarian
341:
1810:
1294:
885:
665:
337:
180:
172:
164:
35:
1283:. Vol. 15 (11th ed.). Cambridge University Press. pp. 926–927.
943:
in 1947 but it was withdrawn at the last moment due to political infighting.
741:. It is generally acknowledged that "The wolf in the kennel" is aimed at the
916:
725:’s fable of "The Oak Tree and the Swine", a satirical reworking of Aesop's "
176:
951:
17:
758:. Then in 1906 it was applied to agricultural policy in a new caricature.
1927:
1168:
774:
688:
305:
168:
160:
869:
317:
43:
1666:
1133:
The Young Crow (who wanted to imitate the eagle in La Fontaine, II.16)
406:, with whom he was on friendly terms, granted him a generous pension.
968:
360:
325:
301:
274:
100:
48:
699:
Fables of older date are equally laid under contribution by Krylov.
1923:
860:
Musical adaptations of the fables have been more limited. In 1851,
828:
into a 1922 edition of the fables. In "The cook and the cat" it is
950:
931:), "The dragonfly and the ant" and "The ass and the nightingale".
760:
660:
533:
333:
284:
266:
258:
501:
309:
156:
1911:, a verse translation by Lydia Rasran Stone, Monpelier VT 2010
935:, a ballet based on the first of these fables, was created by
355:
Beginning in 1789, Krylov also made three attempts to start a
257:; 13 February 1769 – 21 November 1844) is Russia's best-known
1405:"В Подмосковье ребёнок застрял в памятнике Крылову и Пушкину"
715:
Bibliographical and Historical Notes to the fables of Krilof
1908:
The frogs who begged for a tsar and 61 other Russian fables
927:
set two by Krylov for solo voice and piano accompaniment (
1905:
A limited preview with the introduction and five fables,
1586:
Fables and Epigrams of Lessing translated from the German
549:
Portrait of Ivan Krylov by Roman Maximovich Volkov (1812)
1994:
18th-century non-fiction writers from the Russian Empire
1964:
Full members of the Saint Petersburg Academy of Sciences
1850:
Kryloff, ou Le La Fontaine russe: sa vie et ses fables
235:
Order of Saint Stanislaus (Imperial House of Romanov)
431:
formula was followed in the 1824 painting of him by
1297:. September 16, 2007 – via Wikimedia Commons.
824:, elements of various schools were incorporated by
230:
222:
214:
196:
186:
152:
144:
130:
106:
92:
80:
57:
1949:Dramatists and playwrights from the Russian Empire
1895:, translated into the original metres, London 1920
515:Krylov shares yet another monument with the poet
508:district of Moscow in 1976. This was the work of
1295:"English: Ivan Krylov grave in Tikhvin Cemetery"
1007:The Choosy Bride (La Fontaine's The Maid, VII.5)
958:’s 1911 illustration of "The beggar and fortune"
457:groups his corpulent figure with fellow writers
352:(written in 1786) was not published until 1795.
273:, later fables were original work, often with a
1202:(La Fontaine's Jay in Peacock's Feathers, IV.9)
1791:From Musical Folklore to Twelve-tone Technique
1373:"Walks in Moscow: Presnya | One Life Log"
8:
1999:19th-century writers from the Russian Empire
1989:18th-century writers from the Russian Empire
836:is introduced into "Death and the peasant".
1384:; photographs of the reliefs appear on the
1177:(who laid golden eggs in La Fontaine, V.13)
868:for voice and piano, pieces republished in
320:. There, Krylov obtained a position in the
65:
54:
1236:. Haskell House Publishers, 1973. Page 6.
967:", to transpose an anecdote in a poem by
769:, 1857. The Russian Museum, St Petersburg
1853:. Paris: Garnier frères. pp. 30–35.
1252:
1250:
1248:
1246:
1244:
1242:
1225:
896:and made some settings under the title
539:
1375:. Onelifelog.wordpress.com. 2011-01-29
336:fee, he exchanged it for the works of
1064:(or the woodman in La Fontaine, I.16)
328:"The coffee-grounds fortune teller" (
316:in the hope of securing a government
7:
2009:Male writers from the Russian Empire
1361:. March 15, 2014 – via Flickr.
1158:The Mistress and her Two Maids (V.6)
386:) and "A Lesson For the Daughters" (
366:, and when the prince was appointed
2004:Journalists from the Russian Empire
1011:The Old Man and the Three Young Men
832:, while the pronounced diagonal of
1954:Male poets from the Russian Empire
1425:The Cambridge Companion to Pushkin
803:featured on a Soviet postage stamp
378:his translation of two of Jean de
25:
1805:There is an analysis of these in
923:(Op.90) and in 1922 the youthful
904:) that are reported to have been
719:The Travellers and the Plane Tree
442:(1794 —1868) and that of 1834 by
1931:
1327:"Online details of the monument"
1257:
1099:The Lion and the Mosquito (II.9)
626:
603:
580:
554:
542:
201:
1667:"English: Political caricature"
1103:The Frogs who Begged for a Tsar
304:, but spent his early years in
289:Monument to Ivan Krylov in the
1959:Members of the Russian Academy
1809:and a complete performance on
1679:There were matchbox series in
1669:– via Wikimedia Commons.
1115:The Animals Sick of the Plague
986:The Man who Runs after Fortune
218:The fable, play, poetry, prose
1:
1915:Works by or about Ivan Krylov
32:Eastern Slavic naming customs
1807:The Exhaustive Shostakovitch
1777:"State Museum of Palekh Art"
1665:Bem, E. M. (June 28, 1906).
1431:. p. 42. Archived from
1422:Levitt, Marcus (2006). "3".
701:The Hawk and the Nightingale
681:The Countryman and the Snake
1979:Burials at Tikhvin Cemetery
1930:(public domain audiobooks)
1703:Lomonosov Porcelain factory
1347:Russian Academic Dictionary
1136:Gout and the spider (III.8)
635:Vasili Vasilievich Zavyalov
400:Russian Academy of Sciences
2035:
1847:Bougeault, Alfred (1852).
1175:The Greedy Man and the Hen
1140:The Banker and the Cobbler
1074:The Fly and the Travellers
1032:The Dragonfly and the Ants
965:The Banker and the Cobbler
892:wrote a stage work titled
878:4 Fables after Ivan Krylov
562:Parade at Tsaritsyn Meadow
410:the Empress to recover at
295:Peter Klodt von Urgensburg
30:In this name that follows
29:
27:Russian writer (1769–1844)
2014:18th-century male writers
1883:Kriloff’s Original Fables
1681:Creighton University 1960
1644:Kriloff's original fables
1484:. Colnect.com. 2013-04-08
765:"Demyan’s Fish Soup", by
743:French invasion of Russia
254:
64:
1825:, Yale University 2015,
1793:, Scarecrow Press 2004,
1275:Kriloff, Ivan Andreevich
1169:The Shepherd and the Sea
723:Gotthold Ephraim Lessing
300:Ivan Krylov was born in
255:Ива́н Андре́евич Крыло́в
1280:Encyclopædia Britannica
1080:The Hermit and the Bear
947:The Russian La Fontaine
939:for performance at the
921:5 Fables of Ivan Krylov
685:The Council of the Mice
396:Imperial Public Library
247:Ivan Andreyevich Krylov
96:Ivan Andreyevich Krylov
1889:C.Fillingham Coxwell,
1213:The Lion and the Mouse
1194:The Kettle and the Pot
1153:The Wolf and the Crane
1094:The Cock and the Pearl
1068:The Fox and the Grapes
959:
874:Alexander Gretchaninov
770:
693:The Monkey and the Cat
612:Johann Lebrecht Eggink
469:. This was set in the
444:Johann Lebrecht Eggink
297:
261:and probably the most
139:Alexander Nevsky Lavra
71:Portrait of Krylov by
1874:Krilof and his Fables
1512:"Басни. Пестрые Овцы"
1062:The Peasant and Death
1056:The Wolf and the Lamb
1038:The Raven and the Fox
954:
882:2 Fables after Krylov
764:
476:In 1830 the sculptor
288:
1924:Works by Ivan Krylov
1789:Georg von Albrecht,
1601:Krylov et ses Fables
1329:. Backtoclassics.com
1109:The Man and the Lion
1050:The Lion at the Hunt
1002:The Oak and the Reed
812:provided attractive
706:The Elm and the Vine
491:Millennium of Russia
380:La Fontaine's Fables
1984:Writers from Moscow
1044:The Frog and the Ox
925:Dmitri Shostakovich
779:Lomonosov Porcelain
745:in 1812, since the
453:. An 1832 study by
239:Order of Saint Anna
1763:An example on the
1690:2015-04-03 at the
1630:2013-01-21 at the
1516:krylov.lit-info.ru
1391:2015-04-02 at the
1188:The Lion Grown Old
960:
910:Peter and the Wolf
822:Russian Revolution
818:3 Fables of Krylov
771:
666:Government censors
573:Gregory Chernetsov
455:Grigory Chernetsov
298:
1715:"Russian museums"
1386:Another City site
1316:Ralston p.xxxviii
845:Palekh miniatures
841:Socialist realism
826:Aleksandr Deyneka
517:Alexander Pushkin
506:Patriarch's Ponds
459:Alexander Pushkin
426:Artistic heritage
368:military governor
357:literary magazine
244:
243:
223:Years active
16:(Redirected from
2026:
1935:
1934:
1919:Internet Archive
1892:Kriloff's Fables
1880:Henry Harrison,
1855:
1854:
1844:
1838:
1837:Ralston, p.xxxii
1835:
1829:
1819:
1813:
1803:
1797:
1787:
1781:
1780:
1773:
1767:
1761:
1755:
1754:
1743:
1737:
1736:
1725:
1719:
1718:
1711:
1705:
1700:
1694:
1677:
1671:
1670:
1662:
1656:
1653:
1647:
1640:
1634:
1622:
1616:
1613:
1607:
1598:
1592:
1583:
1577:
1571:
1565:
1559:
1553:
1547:
1541:
1535:
1529:
1526:
1520:
1519:
1508:
1502:
1499:
1493:
1492:
1490:
1489:
1478:
1472:
1471:
1469:
1468:
1459:. Archived from
1457:"<Stamps>"
1453:
1447:
1446:
1444:
1443:
1437:
1430:
1419:
1413:
1412:
1401:
1395:
1383:
1381:
1380:
1369:
1363:
1362:
1355:
1349:
1344:
1338:
1337:
1335:
1334:
1323:
1317:
1314:
1308:
1305:
1299:
1298:
1291:
1285:
1284:
1263:
1261:
1260:
1254:
1237:
1230:
1019:
906:Sergei Prokofiev
890:Vladimir Rebikov
862:Anton Rubinstein
856:Musical settings
816:silhouettes for
799:painting of 1847
747:Emperor Napoleon
643:
630:
620:
607:
597:
589:Peter A. Olenin
584:
570:
558:
546:
463:Vasily Zhukovsky
452:
441:
433:Peter A. Olenin
420:Tikhvin Cemetery
404:Emperor Nicholas
364:Sergey Galitzine
256:
207:
205:
204:
135:Tikhvin Cemetery
117:
115:
110:21 November 1844
98:13 February 1769
87:
69:
55:
21:
2034:
2033:
2029:
2028:
2027:
2025:
2024:
2023:
1939:
1938:
1932:
1902:
1871:W.R.S.Ralston,
1863:
1858:
1846:
1845:
1841:
1836:
1832:
1820:
1816:
1804:
1800:
1788:
1784:
1775:
1774:
1770:
1765:All Russia site
1762:
1758:
1745:
1744:
1740:
1727:
1726:
1722:
1713:
1712:
1708:
1701:
1697:
1692:Wayback Machine
1678:
1674:
1664:
1663:
1659:
1654:
1650:
1641:
1637:
1632:Wayback Machine
1623:
1619:
1614:
1610:
1599:
1595:
1588:, London 1825,
1584:
1580:
1572:
1568:
1560:
1556:
1548:
1544:
1536:
1532:
1527:
1523:
1510:
1509:
1505:
1500:
1496:
1487:
1485:
1480:
1479:
1475:
1466:
1464:
1455:
1454:
1450:
1441:
1439:
1435:
1428:
1421:
1420:
1416:
1411:. 18 July 2018.
1403:
1402:
1398:
1393:Wayback Machine
1378:
1376:
1371:
1370:
1366:
1357:
1356:
1352:
1345:
1341:
1332:
1330:
1325:
1324:
1320:
1315:
1311:
1306:
1302:
1293:
1292:
1288:
1273:, ed. (1911). "
1269:
1258:
1256:
1255:
1240:
1231:
1227:
1223:
1218:
1121:The Two Pigeons
1086:
1024:
1013:
949:
937:Leonid Yakobson
902:Basni v litsach
898:Fables in Faces
894:Krylov's Fables
866:5 Krylov Fables
858:
735:
727:The Walnut Tree
657:
652:
645:
637:
631:
622:
614:
608:
599:
591:
587:Ivan Krylov by
585:
576:
564:
559:
550:
547:
519:in the city of
495:Veliky Novgorod
467:Nikolay Gnedich
446:
435:
428:
416:Nikolay Gnedich
412:Pavlovsk Palace
283:
202:
200:
119:
113:
111:
99:
97:
88:
85:
76:
60:
53:
28:
23:
22:
15:
12:
11:
5:
2032:
2030:
2022:
2021:
2016:
2011:
2006:
2001:
1996:
1991:
1986:
1981:
1976:
1971:
1966:
1961:
1956:
1951:
1941:
1940:
1937:
1936:
1921:
1912:
1901:
1900:External links
1898:
1897:
1896:
1887:
1886:, London 1883,
1878:
1868:
1867:
1862:
1859:
1857:
1856:
1839:
1830:
1814:
1798:
1782:
1768:
1756:
1738:
1720:
1706:
1695:
1672:
1657:
1655:Ralston, p.178
1648:
1635:
1617:
1608:
1603:, Paris 1869,
1593:
1578:
1566:
1554:
1542:
1530:
1528:Ralston, p.248
1521:
1503:
1494:
1473:
1448:
1414:
1396:
1364:
1350:
1339:
1318:
1309:
1300:
1286:
1271:Chisholm, Hugh
1238:
1232:Janko Lavrin.
1224:
1222:
1219:
1217:
1216:
1204:
1203:
1197:
1191:
1179:
1178:
1172:
1160:
1159:
1156:
1144:
1143:
1137:
1134:
1125:
1124:
1118:
1112:
1106:
1100:
1097:
1084:
1083:
1077:
1071:
1065:
1059:
1053:
1047:
1041:
1035:
1022:
1021:
1008:
1005:
993:
956:Heorhiy Narbut
948:
945:
857:
854:
834:Constructivism
810:Heorhiy Narbut
787:Realist school
734:
731:
656:
653:
651:
648:
647:
646:
632:
625:
623:
609:
602:
600:
586:
579:
577:
560:
553:
551:
548:
541:
487:Alexander Agin
478:Samuil Galberg
427:
424:
314:St. Petersburg
293:(1854–55), by
282:
279:
242:
241:
232:
231:Notable awards
228:
227:
224:
220:
219:
216:
212:
211:
209:Russian Empire
198:
194:
193:
188:
184:
183:
154:
150:
149:
146:
142:
141:
132:
128:
127:
125:Russian Empire
121:St. Petersburg
118:(aged 75)
108:
104:
103:
94:
90:
89:
84:
82:
78:
77:
70:
62:
61:
58:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2031:
2020:
2017:
2015:
2012:
2010:
2007:
2005:
2002:
2000:
1997:
1995:
1992:
1990:
1987:
1985:
1982:
1980:
1977:
1975:
1972:
1970:
1967:
1965:
1962:
1960:
1957:
1955:
1952:
1950:
1947:
1946:
1944:
1929:
1925:
1922:
1920:
1916:
1913:
1910:
1909:
1904:
1903:
1899:
1894:
1893:
1888:
1885:
1884:
1879:
1876:
1875:
1870:
1869:
1865:
1864:
1860:
1852:
1851:
1843:
1840:
1834:
1831:
1828:
1824:
1821:Janice Ross,
1818:
1815:
1812:
1808:
1802:
1799:
1796:
1792:
1786:
1783:
1778:
1772:
1769:
1766:
1760:
1757:
1752:
1748:
1742:
1739:
1734:
1730:
1724:
1721:
1716:
1710:
1707:
1704:
1699:
1696:
1693:
1689:
1686:
1682:
1676:
1673:
1668:
1661:
1658:
1652:
1649:
1646:
1645:
1639:
1636:
1633:
1629:
1626:
1621:
1618:
1615:Ralston, p.15
1612:
1609:
1606:
1602:
1597:
1594:
1591:
1587:
1582:
1579:
1576:
1570:
1567:
1564:
1558:
1555:
1552:
1546:
1543:
1540:
1534:
1531:
1525:
1522:
1517:
1513:
1507:
1504:
1501:Ralston, p.13
1498:
1495:
1483:
1477:
1474:
1463:on 2017-11-27
1462:
1458:
1452:
1449:
1438:on 2017-06-27
1434:
1427:
1426:
1418:
1415:
1410:
1406:
1400:
1397:
1394:
1390:
1387:
1374:
1368:
1365:
1360:
1354:
1351:
1348:
1343:
1340:
1328:
1322:
1319:
1313:
1310:
1307:Coxwell, p.10
1304:
1301:
1296:
1290:
1287:
1282:
1281:
1276:
1272:
1267:
1266:public domain
1253:
1251:
1249:
1247:
1245:
1243:
1239:
1235:
1229:
1226:
1220:
1214:
1211:
1210:
1209:
1208:
1201:
1198:
1195:
1192:
1189:
1186:
1185:
1184:
1183:
1176:
1173:
1170:
1167:
1166:
1165:
1164:
1157:
1154:
1151:
1150:
1149:
1148:
1141:
1138:
1135:
1132:
1131:
1130:
1129:
1122:
1119:
1116:
1113:
1110:
1107:
1104:
1101:
1098:
1095:
1092:
1091:
1090:
1089:
1081:
1078:
1075:
1072:
1069:
1066:
1063:
1060:
1057:
1054:
1051:
1048:
1045:
1042:
1040:(Aesop) (I.2)
1039:
1036:
1033:
1030:
1029:
1028:
1027:
1017:
1012:
1009:
1006:
1003:
1000:
999:
998:
997:
992:
989:
987:
981:
978:
977:New Testament
974:
970:
966:
957:
953:
946:
944:
942:
938:
934:
933:The dragonfly
930:
926:
922:
918:
913:
911:
908:’s model for
907:
903:
899:
895:
891:
887:
883:
879:
875:
871:
867:
863:
855:
853:
850:
846:
842:
837:
835:
831:
830:Expressionism
827:
823:
819:
815:
811:
806:
804:
800:
796:
795:Pavel Fedotov
792:
788:
783:
780:
776:
768:
763:
759:
757:
753:
752:State Council
748:
744:
740:
732:
730:
728:
724:
720:
716:
710:
707:
702:
697:
694:
690:
686:
682:
676:
674:
669:
667:
662:
655:As literature
654:
649:
641:
636:
629:
624:
618:
613:
606:
601:
595:
590:
583:
578:
574:
568:
563:
557:
552:
545:
540:
538:
535:
530:
528:
527:
526:Eugene Onegin
522:
518:
513:
511:
510:Andrei Drevin
507:
503:
498:
496:
492:
488:
484:
479:
474:
472:
471:Summer Garden
468:
464:
460:
456:
450:
445:
439:
434:
425:
423:
421:
417:
413:
407:
405:
401:
397:
391:
389:
385:
384:Modnaya lavka
381:
377:
376:Ivan Dmitriev
373:
369:
365:
362:
358:
353:
351:
347:
343:
339:
335:
331:
327:
323:
322:civil service
319:
315:
311:
307:
303:
296:
292:
291:Summer Garden
287:
280:
278:
276:
272:
271:La Fontaine's
268:
264:
260:
252:
248:
240:
236:
233:
229:
225:
221:
217:
213:
210:
199:
195:
192:
189:
185:
182:
178:
174:
170:
166:
162:
158:
155:
151:
147:
143:
140:
136:
133:
131:Resting place
129:
126:
122:
109:
105:
102:
95:
91:
86:Ива́н Крыло́в
83:
79:
74:
73:Karl Briullov
68:
63:
56:
51:
50:
45:
42: and the
41:
37:
33:
19:
1907:
1891:
1882:
1873:
1849:
1842:
1833:
1822:
1817:
1801:
1790:
1785:
1771:
1759:
1750:
1741:
1732:
1723:
1709:
1698:
1675:
1660:
1651:
1642:
1638:
1625:Napoleon.org
1620:
1611:
1600:
1596:
1585:
1581:
1569:
1557:
1545:
1533:
1524:
1515:
1506:
1497:
1486:. Retrieved
1476:
1465:. Retrieved
1461:the original
1451:
1440:. Retrieved
1433:the original
1424:
1417:
1408:
1399:
1377:. Retrieved
1367:
1353:
1342:
1331:. Retrieved
1321:
1312:
1303:
1289:
1278:
1233:
1228:
1206:
1205:
1181:
1180:
1162:
1161:
1146:
1145:
1127:
1126:
1087:
1085:
1025:
1023:
995:
994:
990:
982:
961:
932:
920:
914:
909:
901:
897:
893:
881:
877:
865:
859:
849:papier-mâché
838:
817:
807:
790:
784:
772:
767:Andrei Popov
736:
714:
711:
698:
677:
670:
658:
531:
524:
514:
499:
493:monument in
475:
429:
408:
392:
388:Urok dochkam
387:
383:
354:
349:
329:
299:
263:epigrammatic
246:
245:
47:
39:
1974:1844 deaths
1969:1769 births
1014: [
973:Koine Greek
814:Art Nouveau
756:Crimean War
739:caricatures
733:In the arts
638: [
615: [
592: [
565: [
483:Peter Clodt
447: [
436: [
197:Citizenship
148:Navi Volyrk
81:Native name
59:Ivan Krylov
44:family name
40:Andreyevich
18:Ivan Krilov
1943:Categories
1861:References
1573:Harrison,
1537:Harrison,
1488:2013-04-22
1467:2015-03-27
1442:2011-02-18
1379:2013-04-22
1333:2013-04-22
886:a cappella
884:for mixed
876:, who set
791:"La Fille"
650:The Fables
330:Kofeynitsa
181:translator
173:journalist
165:playwright
153:Occupation
114:1844-11-22
36:patronymic
2019:Fabulists
1827:pp.168–70
1561:Harrison
1549:Ralston,
1082:(VIII.10)
917:Cesar Cui
915:In 1913,
775:postcards
633:Stamp by
497:in 1862.
350:Philomela
275:satirical
226:1786-1843
177:publisher
1928:LibriVox
1688:Archived
1628:Archived
1605:pp.127-8
1590:Fable 33
1575:pp.178-9
1551:pp.167–8
1389:Archived
1200:The Crow
1190:(III.14)
1142:(VIII.2)
1111:(III.10)
1070:(III.11)
689:cronyism
575:(detail)
521:Pushkino
306:Orenburg
259:fabulist
187:Language
169:novelist
161:fabulist
145:Pen name
1917:at the
1811:YouTube
1751:Arthive
1733:Arthive
1268::
1215:(II.11)
1155:(III.9)
1117:(VII.1)
1105:(III.4)
1076:(VII.9)
975:from a
941:Bolshoi
870:Leipzig
418:in the
394:by the
372:Livonia
346:Boileau
338:Molière
318:pension
269:'s and
251:Russian
191:Russian
112: (
1409:Пикабу
1262:
1171:(IV.2)
1123:(IX.2)
1096:(I.20)
1058:(I.10)
1020:(XI.8)
1004:(I.22)
969:Horace
644:(1959)
621:(1834)
598:(1824)
361:Prince
344:, and
342:Racine
326:comedy
302:Moscow
277:bent.
206:
101:Moscow
75:, 1839
49:Krylov
34:, the
1563:p.111
1539:p.220
1436:(PDF)
1429:(PDF)
1359:"033"
1234:Gogol
1221:Notes
1196:(V.2)
1052:(I.6)
1046:(I.3)
1034:(I.1)
1018:]
839:When
673:Aesop
661:humor
642:]
619:]
596:]
569:]
534:kopek
451:]
440:]
334:ruble
267:Aesop
215:Genre
1795:p.59
1685:1992
1683:and
1207:1834
1182:1825
1163:1819
1147:1816
1128:1811
1088:1809
1026:1808
996:1806
929:op.4
919:set
864:set
502:Tver
465:and
310:Tver
308:and
281:Life
157:Poet
107:Died
93:Born
1926:at
1277:".
797:'s
610:by
571:by
370:of
46:is
38:is
1945::
1749:.
1731:.
1514:.
1407:.
1241:^
1016:fr
912:.
805:.
640:ru
617:de
594:ru
567:ru
461:,
449:de
438:ru
422:.
340:,
253::
237:,
179:,
175:,
171:,
167:,
163:,
159:,
137:,
123:,
1779:.
1753:.
1735:.
1717:.
1518:.
1491:.
1470:.
1445:.
1382:.
1336:.
900:(
249:(
116:)
52:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
