On the Problem of Transformation of Philosophical and Aesthetic Representations of the Author

About the authors:

Sergey A. Komarov, Dr. Sci. (Philol.), Professor, Department of Linguistics and Literary Studies, University of Tyumen, Tyumen, Russia; vitmark14@yandex.ru, https://orcid.org/0000-0003-4506-4027

Sergey O. Shipov, Postgraduate Student, Department of Russian and Foreign Literature, University of Tyumen; s.o.shipov@yandex.ru

Abstract:

This article presents the first systematic scientific reflection of the poetics of the eight fables by I. A. Krylov, that he did not include in the corpus of his Nine Books of Fables. The great Russian poet wrote these texts at various stages of his life and the development of his self-consciousness as a fabulist,. It is significant that the removal of these texts off the Nine Books occurred during a dynamic change of literary trends in the Russian written culture —the shift from classicism to realism. This change could not but affect the destabilization of the author’s relations with a democratic reader, undermining the stability of the value-didactic canon of the fable.

The purpose of this article is to identify and describe the factors and reasons that prompted Krylov not to include each of the eight fables under study into the corpus of his Nine Books, which became canonical in the history of national literature. The results show a significant difference between the factors and causes of both external and internal order. The external causes and factors include the discrepancy between the poetics of texts and the readers’ expectations in the framework of the concepts of a sensitive and romantic hero, as well as complicity in the conflict between aristocratic and non-aristocratic parties within the Russian elite of the first half of the 19th century. Internal causes and factors are associated with thematic structural outline of specific texts that do not ensure the dialogical unity of the author, subject, and readers’ horizons within the framework of the value-didactic layer of the whole artistic work.

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