In Russian literature, the genre of fable was addressed by M. V. Lomonosov, V. K. Trediakovsky, A. P. Sumarokov, M. M. Kheraskov, I. I. Chemnitzer, and I. I. Dmitriev. But both classicists and sentimentalists spoke of the fable as a genre "neglected", in the words of N. V. Gogol. The former denied the fable full recognition due to its lack of artistry, since it was a genre of "low", not adapted to express the world of feelings of the individual. And only thanks to I. A. Krylov, the fable found a full-fledged place in Russian literature. It was she who became the literary genre in which Krylov's bright personality was most fully and successfully expressed. Krylov is a "calm sage" who observes, not corrects, life and morals. In his works, vice seems to expose itself, being shown impartially, objectively. According to P. A. Vyazemsky, "Dmitriev writes his fables; Krylov tells them" (Vyazemsky P. A. Poly. collected Works of T. I. St. Petersburg, 1878, p. 157). A. S. Pushkin believed that Krylov was a fabulist who "surpassed all those known to us" (Pushkin A. S. Poly. collected works: In 10 vols. Vol. 10. L., 1978. p. 15). It was Pushkin, who sought to combine the" average " Karamzin style with the bright element of folk speech and imagery, who fully understood Krylov's talent, unlike Vyazemsky, who believed that the genre form of the fabulist contains elements of "a dramatized epigram for such a case, for such a person" (Vyazemsky P. A. Poly. collected Works Vol. I. St. Petersburg, 1878, p. 157), in other words, develops into satire. Meanwhile, the fable, in his opinion, should contain "a moral truth common to humanity, and not a local, personal, conditional truth" (Vyazemsky P. A. Decree. soch. T. I. St. Petersburg, 1878, p. 176). By the last third of the 18th century, the fable genre was undergoing changes towards a greater presence of the" personal " element. And since at this time Romanticism begins to strengthen in literature with its interest in national history, ... Read more