The Fox and the Goat

Source: http://www.planetozkids.com/oban/legends/fox-goat-aesop-fable.htm

Fable:

One hot sunny day, a thirsty fox was looking down into a deep well, and fell in.

“I wanted some water, but not this much” said the fox to himself, as he splashed around in the water.

“Now how am I going to get out of here” he said, looking up at the top of the well.

Just then a thirsty goat came to the well. He looked down and was surprised to see the fox in the water.

“What are you doing down there?” asked the goat.

“I came down to get some of this wonderful cool water” said the fox, pretending everything was alright.

“Come on down and try some. It’s the best water you’ll ever taste” he shouted up at the goat. ‘And there isn’t any more water for miles.”

“I’m thirsty, and that water does look so good” thought the goat.

“OK. Look out, I’m coming down,” the goat shouted to the fox as he jumped down into the well.

FoxJust as the goat started drinking, the fox said, “There’s one small problem. The top of the well is so high it’s going to be hard getting out of here. But don’t worry I have a plan.”

“If,” he said to the goat “you put your front feet on the wall of the well, I’ll run up your back and jump up to the top. Once I’m out I’ll help you to get out too.”

The goat did as he was told and the fox leapt onto his back, jumped up on to his horns, and then scrambled up out of the well.

“That was a really good plan” said the fox.

“See you later” he said, looking down at the goat.

“But, what about me?” cried the goat from the bottom of the well.

“If you had any brains you would never have gone down there until you had worked out how to get out.” said the fox.

“Have you ever heard the expression, look before you leap?” laughed the fox as he ran away.

Moral: Look before you leap.

Existing illustrations:

Profile view.

Bird’s eye view.

Bottom view.

Observation:
Top and bottom perspective provides greater visual enjoyment due to the exaggerated sense of scale and distance.

Modern interpretations of the story:

Modernized setting of baggage check. Fox makes use of naive goat to smuggle stuff. Look before you leap.

City scape of Fox falling into sewage hole.

Character analysis of Fox: Sly, witty, Clever
Character analysis of Goat: Naive, Gullible, Dumb

Published in: on December 6, 2009 at 2:04 am  Leave a Comment  
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The Fox and the Leopard

Fable:

A Fox and a Leopard, resting lazily after a generous dinner, amused themselves by disputing about their good looks. The Leopard was very proud of his glossy, spotted coat and made disdainful remarks about the Fox, whose appearance he declared was quite ordinary.

The Fox prided himself on his fine bushy tail with its tip of white, but he was wise enough to see that he could not rival the Leopard in looks. Still he kept up a flow of sarcastic talk, just to exercise his wits and to have the fun of disputing. The Leopard was about to lose his temper when the Fox got up, yawning lazily.

“You may have a very smart coat,” he said, “but you would be a great deal better off if you had a little more smartness inside your head and less on your ribs, the way I am. That’s what I call real beauty.”

THE FOX AND THE LEOPARD

Moral:
A fine coat is not always an indication of an attractive mind.
Beauty is often only skin deep.

Existing illustrations:

Observation: The two animals are always shown side by side.

Character analysis of Fox: Smart, witty
Character analysis of Leopard: Show-off, shallow

Published in: on December 6, 2009 at 12:54 am  Leave a Comment  
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The Fox and the Stork

Traditional Fable:

Source: http://www.virted.org/fables/foxstor.html

At one time the Fox and the Stork were on visiting terms and seemed very good friends. So the Fox invited the Stork to dinner, and for a joke put nothing before her but some soup in a very shallow dish. This the Fox could easily lap up, but the Stork could only wet the end of her long bill in it, and left the meal as hungry as when she began.

“I am sorry,” said the Fox, “the soup is not to your liking.”

“Pray do not apologize,” said the Stork. “I hope you will return this visit, and come and dine with me soon.”

So a day was appointed when the Fox should visit the Stork; but when they were seated at table all that was for their dinner was contained in a very long-necked jar with a narrow mouth, in which the Fox could not insert his snout, so all he could manage to do was to lick the outside of the jar.

“I will not apologize for the dinner,” said the Stork:

“One bad turn deserves another.”

Questions to discuss:

  • Did the Stork do the right thing in paying back the Fox’s rude behavior?
  • What do you think happened after the fable ended with the fox and the stork?

More detailed version:

Source: http://marialuciauribe.blogspot.com/2007/06/fox-and-stork.html

Once upon a time . . . a fox made friends with a stork and decided to invite her to lunch. While he was wondering what to serve for the meal, he thought he’d play a trick on the bird. So he prepared a tasty soup and poured it into two flat plates.

“Help yourself, Mrs Stork! I’m sure you’ll enjoy this! It’s frog soup and chopped parsley. Taste it, you’ll find it’s delicious!”
“Thank you very much!” said the stork, sniffing the soup. But she quickly saw the trick the fox had played on her. For no matter how she tried, she could not drink the soup from the flat plate. The sniggering fox urged her on:”Eat up! Do you like it?” But all the stork could do was bluff. With a casual air she said: “I’m afraid I’ve such a headache that I’ve lost my appetite!” And the fox fussily replied: “What a shame! And it’s such good soup too! Too bad! Maybe next time . . .” To which the stork quickly replied: “Yes, of course! Next time, you must have lunch with me!”
The very next day, the fox found a polite note pinned to his door: it was the stork’s invitation to lunch. “Now, isn’t that nice of her!” said the fox to himself. “And she hasn’t taken my little trick to heart either! A real lady!”
The stork’s house was much plainer than the fox’s, and she apologized to the fox. “My home is much humbler than yours,” she said, “but I’ve cooked a really special meal. Freshwater shrimps with white wine and juniper berries!” The fox licked his lips at the idea of these goodies and sniffed deeply when the stork handed him his jar. But, try as he might, he was unable to eat a bite, for he could not reach down with his nose into the long neck of the jar.In the meantime, with her long beak, the stork gobbled her lunch.

“Try it! Try it!” she said. “Do you like it?” But the unlucky fox, confused and outsmarted, could not think of an excuse for not eating. And as he tossed and turned hungrily in bed that night, thinking of his lost lunch, he said to himself with a sigh: “I might have known!”

Moral: Do unto other as you would have other do unto you!

Someone’s response:

Source: http://marialuciauribe.blogspot.com/2007/06/fox-and-stork.html

Dear MaLu,

I think this story has a lot of significance in today’s globalised world. We often act like the fox or the stork when dealing with people from a different country or culture.

I am from India. During my recent visit to Korea, I was invited to my Korean colleague’s home for dinner. Hospitaility was at its best. His wife and mother had prepared a 25 course meal for me; but hardly was anything palatable to me, as I was a vegetarian and also not fond of eating too much garlic!

If my Korean friend were to ever visit me in India, I would rather search out for a Korean restaurant to treat him, and not insist on offering Indian food!

This doesn’t apply only for food. Culture is so diverse, that you can find this fox and stork story in many other places.

It need not be a question of revenge at all!

regards
Padmanabhan (Padhu)

Existing book:

Source: http://books.google.com.sg/books?id=bzrLtWaabdsC&dq=the+fox+and+the+stork&printsec=frontcover&source=bl&ots=yadEzLaOL4&sig=cyOcuprGO3YLT-pOhH-uhr4oFNA&hl=en&ei=-HsaS4yxNJiekQWKyfTZAw&sa=X&oi=book_result&ct=result&resnum=11&ved=0CCoQ6AEwCg#v=onepage&q=&f=false

Existing illustrations:

Observation: Similar boring profile view.

Video of the story:

Source: http://www.youtube.com/watch?v=pXRR_o7gulw

Humorous depiction of the story.

Character analysis of Fox: Trickster, Prankster
Character analysis of Stork: Calm, Witty

Published in: on December 6, 2009 at 12:35 am  Leave a Comment  
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The Fox and the Crow

Source: http://www.eastoftheweb.com/short-stories/UBooks/FoxCrow.shtml

Traditional version:

The Fox and The Crow

A Fox once saw a Crow fly off with a piece of cheese in its beak and settle on a branch of a tree.
“That’s for me, as I am a Fox,” said Master Reynard, and he walked up to the foot of the tree.
“Good day, Mistress Crow,” he cried. “How well you are looking today: how glossy your feathers; how bright your eye. I feel sure your voice must surpass that of other birds, just as your figure does; let me hear but one song from you that I may greet you as the Queen of Birds.”
The Crow lifted up her head and began to caw her best, but the moment she opened her mouth the piece of cheese fell to the ground, only to be snapped up by Master Fox.
“That will do,” said he. “That was all I wanted. In exchange for your cheese I will give you a piece of advice for the future: “Do not trust flatterers.”

Moral: Do not trust flatterers.

Alternative version:

Source: http://www.aesopfables.com/cgi/aesop1.cgi?2&TheFoxandtheCrow

The Fox and the Crow

A CROW having stolen a bit of meat, perched in a tree and held it
in her beak. A Fox, seeing this, longed to possess the meat
himself, and by a wily stratagem succeeded. “How handsome is the
Crow,” he exclaimed, in the beauty of her shape and in the
fairness of her complexion! Oh, if her voice were only equal to
her beauty, she would deservedly be considered the Queen of
Birds!” This he said deceitfully; but the Crow, anxious to refute
the reflection cast upon her voice, set up a loud caw and dropped
the flesh. The Fox quickly picked it up, and thus addressed the
Crow: “My good Crow, your voice is right enough, but your wit is
wanting.”

Differences:
Cheese vs Meat
Praise vs Challenge

Modern Version:

Source: http://www.planetozkids.com/oban/legends/fox-crow-aesop-fable.htm

The Fox and the Crow
Aesop fable retold by Oban

One day, while he was out walking, a fox saw a crow swoop down and pick up a piece of cheese in its beak. The crow then flapped its wings and flew up onto a high branch in a nearby tree.

“Man, that’s a tasty looking piece of cheese,” said the fox to himself.

“Hey, I should have that cheese. I’m the fox and I deserve it,” he said. “I’m a sly, smooth talking fox too. I’ll have it soon enough.”

The fox walked over to the foot of the tree. “Hi ya, Miss Crow” cried the fox.

“How are you today?” asked the fox. “You’re looking mighty fine. Is there something different about you? Have you changed shampoo?”

“Your feathers look so glossy and black and your eyes are sparkling like diamonds,” said the fox, flattering the crow. “Hey, have you lost weight? Your figure looks great,”

“Wow, if you can sing as good as you look then I’ll have to call you Queen of all Birds” said the fox.

Flattered by all the compliments from the fox, and wanting to be called Queen of all Birds, the crow lifted her head and began to sing.

But the moment she opened her mouth the cheese fell out, and the quick fox jumped and caught it before it hit the ground.

“Yes!!!” yelled the fox, holding the cheese up over his head as he did his victory dance. “I got what I wanted.”

The fox looked up at the sad crow in the tree. “To show you I’m not a really bad guy I’ll give you some advice for the future” he said to the crow.

“ Never trust a flatterer.”

Existing book:

Source: http://books.google.com.sg/books?id=t8CCEoDhYFUC&dq=the+fox+and+the+crow&printsec=frontcover&source=bl&ots=1iUPCbXOOX&sig=80smGJvBcdxGr5GQ_Eo74_4iEWk&hl=en&ei=v28aS42WBZeXkQWC6q3SAw&sa=X&oi=book_result&ct=result&resnum=14&ved=0CDMQ6AEwDQ#v=onepage&q=&f=false

Existing illustrations:

Observation:
They all look alike. Profile view, similar angles. Nothing new.

More interesting illustration:

Close-up.

Cartoon style.

http://www.redbubble.com/people/tsipilevin/art/293043-12-the-fox-and-the-crow

Mixed media, shadows, silhoutte.

Simple shapes.

Nice expression.

Videos of the story:

Use of perspective (bird’s eye view).

Accompanying song.

Observation: Backdrop of story — Summer vs Winter

Character analysis of Fox: Sly, witty, smooth-talking
Character analysis of Crow: Eager to prove herself, not witty.

Published in: on December 5, 2009 at 11:17 pm  Leave a Comment  
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Fable story selection

After consulting some children’s fable books in the library, I have compiled a list of fable stories. I organised them according to the category of the moral behind the story, for example moral about Self, Life and Friends. I also made a list of the animals and the number of times that they appear in the fables (appearance in 1 story is counted as once), and this is my list of the most common animals I found in fables:

1. Fox
2. Crow
3. Lion
4. Dog
5. Eagle/Hawk/Kite
6. Mouse

My concept for now is to develop on these most common animals as the “main characters” in my Fable story series. Hence, I will start working on stories that have these animals appearing in them to try to find a special angle, a new angle to tell the same story.

Published in: on October 15, 2009 at 9:39 pm  Leave a Comment  
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Aesop’s fables in words of one syllable

interesting that every word is in one syllable! interactive.

http://www.archive.org/stream/aesopsfablesinwo00aeso#page/n7/mode/2up

Published in: on October 8, 2009 at 10:07 pm  Leave a Comment  
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Ancient Fables, Modern Fables

Source:
http://www.lefavole.org/en/antiche.htm

http://www.lefavole.org/en/moderne.htm

THE ANCIENT FABLE
AESOP’S FABLESPHAEDRUS’ FABLES

Which elements form the ancient Fable? Which Authors have reached us? Two examples of ancient Fable in Aesop and Phaedrus.

Aesop: Aesop fable

Aesop is considered the fable’s inventor. He was a Greek writer who lived in the VI century B.C. and the Latin writer Phaedrus, who lived in the I century A. D., was inspired by him.
The ancients knew very little about his life. He was born in Phrygia and lived as slave in Samo in the VI cent. B.C. He soon became a legendary person; it was said that he travelled very much in the East, in Greece and above all in Delphi.
We have versions of fables by Aesop which date back to the late Hellenistic Age, and as far as the Byzantine Age, which come in part from more ancient collection. His fables are characterized by a concise and essential style, the characters are usually animals, with fixed features, men and gods, sometimes plants, too; in the end they all have a short moral.
Aesop has his own special peculiarity: through his funny tales he shows men’s merits and faults, with educational and, in a friendly manner, satirical intention.

The Romans used the Aesopic fable, translated into the vernacular and increased (augmented) by Phaedrus, for education, too.
Aesop’s creation has been and still is very successful and has been copied by writers of fables in all ages and in any countries; but even if we can find fables written by Greek and Latin writers, the one who settled the genre was precisely Phaedrus. In the medieval and humanistic world Aesop’s popularity was wide, and the genre was taken from him, with different abridgements and moralistic rewritings (adaptations).

“Di esopo, una favola come esempio per riflettere”
Raccolta favole Esopo

Phaedrus: Phaedrus’ fables

Phaedrus, who lived between 15 B.C. and 50 A.D., is almost a stranger to us: it’s only from his works that we can get the few pieces of information we have about him. He was taken to Rome from Thracia when he was still a kid and there he received some literary education (schooling-learning). Then he was assigned to Augustus’ familia, that is the group of the emperor’s slaves; as he was a good connoisseur of the Greek language, he had to perform tasks as pedagogue, (in Greek pedagogue means “the one who accompanies the boys” and he had to be present at the lessons, help the boy to repeat them, and could also punish him, if necessary) that is, as teacher. Thanks to his merits he was set free from his slavery condition and lived as freedman in the Imperial home (house) also under Tiberius, Caligola and Claudius, having taken upon himself his master’s praenomen and name: Caius Iulis Phaedrus.
He lived in the Imperial Age which goes from Tiberius to Claudius (19-45 A.D.) when, after Augustus’s death, the political system was getting closer and closer to the absolute monarchy. The civil ideals of the Roman spirit, the depth of thought and the literature itself were going through a situation of crisis, with loss of freedom and repressive measures against the intellectuals. In this period Phaedrus chose the protest, rather than the Prince adulation and the Fable became the instrument of his opposition, because those tales allow a dissenting but allusive expression, through allegory. The moral condemnation (statement-declaration) in his fables does not derive from personal reasons, but from his interest in the man’s nature; his work’s aim is to help us to reflect upon human morals and behaviours in general, not those of each single man.
Phaedrus’ fables’ characters are animals speaking the language of the men of their time: they represent men’s dispositions and faults: “the lion embodies the strength and the arrogance, the fox is the sly and the low hypocrisy, the hawk is the rapacity, the wolf the treacherous greed, the lamb is the pursued meekness, the donkey the resigned submission, the dog (more like the various human nature) embodies now the loyalty now the greed now the servility satisfied with itself.” (P. Frassinetti)

The moral, in Phaedrus’ fables, concerns both the private sphere, and the public life, sometimes well separated, sometimes intermingled in the same fable. We can find elements belonging to the private moral in :

  • “The Stag at the Pool” (Beauty and good heartedness does not always coincide),
  • “The dog and the meat” (greed),
  • “The Fox and the Stork” (we reap as we sow),
  • “The Fox and the Grapes” (there’s no way so we show that there’s no will), etc.

We can find topics, which are more political or which are about the private sphere leading to the public one, in fables like:

  • “The Eagle, Carrion Crow, and Tortoise” (there’s no way out for the powerful people),
  • “The Wolf and the Dog” (The value of freedom),
  • “The Wolf and the Lamb” (the oppressors and the oppressed),
  • “The Proud Frog” (the social ranks), etc.

He is the author of five books of fables; the first two were published under Tiberius (emperor from 14 A.D. to 37 A.D.). In them Phaedrus, openly referring to the Greek author Aesop, explains the main features of the fable. The fable matters for its contents, its wisdom and also because it takes the liberty of saying indirectly what in some circumstances it would not be easy to say openly.

“Scrive Fedro”
Raccolta favole Fedro

The Middle Age – kind of fables

The rich medieval production of fables goes back to this Latin author, through the collection of adaptations of his fables (known with the title of Romulus).
During the Middle Age new elements were added to Phaedrus work, these features came from the ancient times and from the East or from the new living and learning conditions; the North of France was the centre of spread of the medieval fables, in the VII-XIV centuries.

The Middle Age proposes another kind of fables: The animal epos, which is about the fox and the wolf and whose most remarkable example is the Roman de Renard, which is the work of different authors of the North of France and of different ages, this one was copied, continued and revised for many centuries.

The characters of the ancient fables

The characters of the ancient fables are animals, which represent some men’s behaviours, their faults and their virtues; in the fables, the animals think and act as human beings and like those they have positive and negative peculiarities.
The turning to the animal world is suggested also by the necessity of transmitting messages which could not be explicitly spread in historical periods characterized by totalitarian regimes, as in imperial Rome.

Il leone, sinonimo di forza e prepotenza nelle favole di Fedro

Modern fables

MORE FABLES, Fables by De La Fontaine and by Rodari.

In this section we have some other significant fables as a confirmation of the features of this genre and of the way they foster an easy and pleasant reading. Together with La Fontaine, we find some more recent authors: Lev Tolstoj, Horacio Quiroga, Alberto Moravia who, as the classical authors, let the animals speak and act as human beings.Here we find different versions of the fable of The Ant and The Cricket realized by Jean de la Fontaine, a poet who lived in France in the XVII century, and Gianni Rodari, an author for children, who died in 1980.

Favola: La cicala e la formica

“THE ANT AND THE CRICKET”

The careless cricket
Sang the summer away
Just to find herself
Poor and with nothing to eat
No fly, no bread
In the winter to have.

Hungry and whining
To the ant she went
Begging for something to have
Just out of kind heart
As to be able to eat
Till the good season comes:
Swearing by her faith
Next August she would refund
With interests and capital sum.

The frugal ant, who double thinks
Before anything she lends
-“How did you spend your summer away?”
Thus asks straight out.
And the cricket:-“My dear friend,
I did nothing but sang day and night”-
“Well done, my dear friend,
Now you can also dance”

(Fable by Jean de la Fontaine)

“TO THE ANT”

I beg pardon to the ancient tale
If I do not like the mean ant
I am on the cricket’s side
Who her melodious chirping
Does not sell but just keeps giving

(Fable by Gianni Rodari)

Modern fables by author.

Fables by author, Jean de La Fontaine’s fable:

  1. The Ant and the Cricket:
  2. The Ox and the Frog
  3. The Fox and the Grapes
  4. An Ass too affectionate

    Lev Tolstoj’s fable:
  5. The Hawk and the Czar

    Gianni Rodari’s fable:
  6. To the Ant
  7. Monkeys on a trip
  8. The Young Crawfish
  9. To the Fox
  10. The Terrible Little Red Riding Hook

    Trilussa’s fable:
  11. The Cautious Lam
  12. The Lame Crick’t

    Horacio Quiroga’s fable:
  13. The Flamingos’ socks

    Fable for children
  14. Croco Dile

Le favole moderne - altre favole per bambini

Published in: on September 10, 2009 at 2:58 pm  Comments (3)  
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Aesop’s Fables

Source: http://www.umass.edu/aesop/history.php

Who is Aesop?

Some may say that Aesop is infamous for the life he led over 2000 years ago and mostly for the hundreds of fables that have been attributed to his name since. Aesop’s fables have reached countless generations since he is reported to have been alive, and they continue to be a part of the lives of many. Not every fable, however, that has been linked to Aesop is his own original material. In actuality, there are many fables attributed to Aesop that, for a variety of reasons, couldn’t possibly be his own. In many ways the unclear authorship of the fables is at the fault of the storytelling tradition, many details are naturally lost and/or altered. However the storytelling tradition is also responsible for the survival of the Aesop Fables—if story telling didn’t exist, neither Aesop nor his fables would have survived.

“They were among the first printed works in the vernacular European languages, and writers and thinkers throughout history have perpetuated them to such an extent that they are embraced as among the essential truths about human beings and their ways.”
-D.L. Ashliman

“Aesop was such a strong personality that his contemporaries credited him with every fable ever before heard, and his successors with every fable ever told since.”
-Willis L. Parker

The legend tells it that Aesop lived during the sixth century BC, scholars have narrowed down his birthplace to a few different places but no one knows for sure. He was born a slave, and in his lifetime two different masters owned him before being granted his freedom. The slave masters were named, Xanthus and Iadmon, the latter gave him his freedom as a reward for his wit and intelligence. As a freedman he supposedly became involved in public affairs and traveled a lot—telling his fables along the way. King Croesus of Lydia was so impressed with Aesop that he offered him residency and a job at his court.

“The popularity of Aesop is also shown by the fact that Plato records that Socrates decided to versify some of his fables while he was in jail awaiting execution.”
-Robert Temple

While on a mission for King Croesus to distribute a certain amount of gold to the people of Delphi in Greece, there was a misunderstanding about how much gold each person was supposed to receive. Aesop became discouraged because the Delphians did not seem appreciative enough of the gift from the King so Aesop decided to take it all back to King Croesus. On his journey back the people of Delhi, who thought he was actively cheating them and giving them a bad reputation, tracked him down. Lloyd W. Daly writes “Apprehensive of his spreading this low opinion of them on his travels, the Delphians lay a trap for Aesop. By stealth they [stashed] a golden bowl from [their] temple in his baggage; then as he starts off through Phocis, they overtake him, search his baggage, and find the bowl. Haled back to Delhi, Aesop is found guilty of sacrilege against Apollo for the theft of the bowl and is condemned to death by being hurled off a cliff.” (Daly, 20.)

Works Cited
Daly, Lloyd W. Aesop Without Morals. New York: Thomas Yoseloff, 1961.
Handford, S.A. Aesop’s Fables. England: Puffin, 1954.
Parker, Willis L. The Fables of Aesop. New York: Illustrated editions, 1931.
Stade, George, ed. Aesop’s Fables. New York: Barnes and Nobles Classics, 2003.
Temple, Olivia and Robert. Aesop: The Complete Fables. New York: Penguin Classics, 1998.

Published in: on September 4, 2009 at 10:03 am  Leave a Comment  
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Aesop’s Fables – Wikipedia

Source: http://en.wikipedia.org/wiki/Aesop%27s_Fables

Aesop’s Fables

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This article is about the Greek tales. For the cartoon series, see Aesop’s Film Fables.

Aesop, as depicted in the Nuremberg Chronicle by Hartmann Schedel. Here he is shown wearing 15th century German clothing

Aesop‘s Fables or Aesopica refers to a collection of fables credited to a slave and story-teller who lived in Ancient Greece between 620 and 560 BC. Aesop’s Fables have become a blanket term for collections of brief fables, especially beast fables involving anthropomorphic animals. His fables are some of the most well known in the world. The fables remain a popular choice for moral education of children today. Many stories included in Aesop’s Fables, such as The Fox and the Grapes (from which the idiom “sour grapes” was derived), The Tortoise and the Hare, The North Wind and the Sun, The Boy Who Cried Wolf and The Ant and the Grasshopper are well-known throughout the world.

Apollonius of Tyana, a 1st century AD philosopher, is recorded as having said about Aesop:

…like those who dine well off the plainest dishes, he made use of humble incidents to teach great truths, and after serving up a story he adds to it the advice to do a thing or not to do it. Then, too, he was really more attached to truth than the poets are; for the latter do violence to their own stories in order to make them probable; but he by announcing a story which everyone knows not to be true, told the truth by the very fact that he did not claim to be relating real events.
And there is another charm about him, namely, that he puts animals in a pleasing light and makes them interesting to mankind. For after being brought up from childhood with these stories, and after being as it were nursed by them from babyhood, we acquire certain opinions of the several animals and think of some of them as royal animals, of others as silly, of others as witty, and others as innocent. (Philostratus, Life of Apollonius of Tyana, Book V:14)

1887 children’s edition by Walter Crane

Aristotle was a keen systematic collector of riddles, folklore, and proverbs; he had a special interest in the riddles of the Delphic Oracle and studied the fables of Aesop.[1]

Aesop

Main article: Aesop

Aesop (from the Greek ΑἴσωποςAisopos), famous for his fables, was a slave who lived mid–fifth century BC, in Ancient Greece.

The place of Aesop’s birth was and still is disputed: Thrace, Phrygia, Egypt, Ethiopia, Samos, Athens, Sardis and Amorium all claimed the honor. Little is known about him from credible records, except that he was at one point freed from slavery and that he eventually died in Delphi. In fact, the obscurity shrouding his life has led some scholars to deny his existence altogether.

Origins

According to the Greek historian Herodotus, the fables were written by a slave named Aesop, who lived in Ancient Greece during the 5th century BC. While some suggested that Aesop did not actually exist, and that the fables attributed to him are folktales of Indian origins, Aesop was indeed mentioned in several other Ancient Greek works – Aristophanes, in his comedy The Wasps, represented the protagonist Philocleon as having learnt the “absurdities” of Aesop from conversation at banquets; Plato wrote in Phaedo that Socrates whiled away his jail time turning some of Aesop’s fables “which he knew” into verses; Demetrius of Phalerum compiled the fables into a set of eleven books (Lopson Aisopeion sunagogai), which have been lost, for the use of orators. There was also an edition in elegiac verse by an anonymous author, which was often cited in the Suda. Two fables of Aesop are similar to those found in Panchtantra, an Indian story book of older origin.[citation needed]

Translation and transmission

The first extensive translation of Aesop into Latin was done by Phaedrus, a freedman of Caesar Augustus in the 1st century AD, although at least one fable had already been translated by the poet Ennius. Avianus also translated forty two of the fables into Latin elegiacs, probably in the 4th century AD.

The collection under the name of Aesop’s Fables evolved from the late Greek version of Babrius, who turned them into choliambic verses, at an uncertain time between 3rd century BC and 3rd century AD. In about 100 BC, Indian philosopher Syntipas translated Babrius into Syriac, from where Andreopulos translated back to Greek, since original Greek scripts had all been lost. Aesop’s fables and the Panchatantra share about a dozen tales, leading to discussions whether the Greeks learned these fables from Indian storytellers or the other way, or if the influences were mutual. Ben E. Perry, one of the foremost authorities on Aesopic fable, argued for the second possibility in his book Babrius and Phaedrus. In his introduction he wrote:

“In the entire Greek tradition there is not, so far as I can see, a single fable that can be said to come either directly or indirectly from an Indian source; but many fables or fable-motifs which make their first appearance in Greek or Near Eastern literature are found later in the Panchatantra and other Indian story-books, including the Buddhist Jatakas.”[2]

In the 9th century, Ignatius Diaconus created a version of fifty-five fables in choliambic tetrameters, into which stories from Oriental sources were added, ultimately mutated from the Sanskrit Panchatantra. From these collections the 14th-century monk Maximus Planudes compiled the collection which has come down under the name of Aesop.[3]

Picture from Caxton’s edition

The first printed version of Aesop’s Fables in English was published on March 26, 1484 by William Caxton. Around the same time, the Scottish poet Robert Henryson was composing his poem, The Morall Fabillis of Esope the Phrygian, a sophisticated interconnected sequence of fable adaptations which made a work of high art out of the genre. At the heart of his version, Aesop himself enters in the unusual guise of a Roman. Henryson’s Scots fable version is not known to have occurred in print form until the 16th century. Caxton’s version was updated by Sir Roger L’Estrange in 1692.

Here is an example of the fables in Caxton’s collection[4] containing dialogue between the fisherman and the fish he has caught, a frequent trope in Aesopian plots:

Men ought not to leue that thynge whiche is sure & certayne / for hope to haue the vncertayn / as to vs reherceth this fable of a fyssher whiche with his lyne toke a lytyll fysshe whiche sayd to hym / My frend I pray the / doo to me none euylle / ne putte me not to dethe / For now I am nought / for to be eten / but whanne I shalle be grete / yf thow come ageyne hyther / of me shalt thow mowe haue grete auaylle / For thenne I shalle goo with the a good whyle / And the Fyssher sayd to the fysshe Syn I hold the now / thou shalt not scape fro me / For grete foly hit were to me for to seke the here another tyme.

In Henryson’s version of the fables, such Aesopic tropes are consistently developed and expanded. For example, in his dialogue between the lion and the mouse, the mouse (in a parallel predicament to the fish above) makes an extended plea which explicitly cites issues of law, justice and politics:

Mercie, lord, at thy gentrice I ase! (ask) / As thou art king of beistis coronate, / sober thy wraith and let it overpas / [...] / Without mercie justice is crueltie, / [...] / Quhen rigour sittis in the tribunall / The equitie of law quha may sustene? / Richt few or nane but (unless) mercie gang betwene / [...] / Ane thowsand myis to kill and eik devoir / Is lyttil manheid to ane strang lyoun

The most reproduced modern English translations were made by Rev. George Fyler Townsend (1814 – 1900). Ben E. Perry, the editor of Aesopic fables of Babrius and Phaedrus for the Loeb Classical Library, compiled a numbered index by type. The edition by Olivia Temple and Robert Temple is entitled The Complete Fables by Aesop; the fables are not complete here since fables from Babrius, Phaedrus and other major ancient sources have been omitted. More recently, in 2002 a translation by Laura Gibbs was published by Oxford World’s Classics, entitled Aesop’s Fables. This book includes 359 fables and has selections from all the major Greek and Latin sources.

Jewish, Biblical version of Aesop’s fables

Main article: Berechiah ha-Nakdan

See also: Aesop among the Jews

In the 1200s a Jewish author, Berechiah ha-Nakdan, wrote a Hebrew work, Mishlei Shualim, derived from a collection of Aesop’s fables. Berechiah’s work adds a layer of Biblical quotations and allusions to Aesop’s tales, adapting them as a way to teach Jewish ethics. The first edition appeared in Mantua, in 1557; another with a Latin version by M. Hanel, Prague, 1661; other editions at Berlin, 1706; Lemberg, 1809; Grodno, 1818; Sklov, n.d.; and Warsaw, 1874. An English translation appeared in 1967 by Moses Hadas, entitled Fables of a Jewish Aesop; it has recently been republished by David R. Godine, publishers.

The fables give in rhymed prose most of the animal tales passing under the name of Aesop during the Middle Ages; but in addition to these, the collection also contains fables conveying the same plots and morals as those of Marie de France, whose date has been placed only approximately toward the end of the twelfth century.

Aesop’s Fables in other languages

Adaptations

List of some fables by Aesop

A detail of the Fontana Maggiore (Main Fountain) in Perugia, sculpted after 1275 by Nicola Pisano and Giovanni Pisano, showing tales The Crane and the Wolf and The Wolf and the Lamb

Russian sculpture of the crow in “The Fox and the Crow” fable

Aesop’s most famous fables include:

See also

Notes

  1. ^ Temple, Olivia, and Temple, Robert (translators), The Complete Fables By Aesop Penguin Classics, 1998. ISBN 0140446494 Cf. Introduction, pp. xi-xii.
  2. ^ Ben E. Perry, “Introduction”, p. xix, in Babrius and Phaedrus (1965)
  3. ^ D .L. Ashliman, “Introduction”, p. xxii, in Aesop’s Fables (2003)
  4. ^ http://www.bartleby.com/39/7.html
  5. ^ Préface aux Fables de La Fontaine
  6. ^ Aesop’s fables (illustrated by Jacob Lawrence) – Seattle : University of Washington Press, 1997. ISBN 0295976411
  7. ^ Exhibition: Jacob Lawrence–Aesop’s Fables, April 10 – June 20, 1999, Hood Museum of Art, Dartmouth College

Sources

External links

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Published in: on September 4, 2009 at 9:54 am  Leave a Comment  
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The Cock and the Fox (Version 2)

Source:  http://www.litscape.com/author/Aesop/The_Cock_and_the_Fox.html

The Cock and the Fox

By Aesop
THE FOX, passing early one summer’s morning near a farm-yard, was caught in a springe, which the farmer had planted there for that end. The Cock, at a distance, saw what happened, and, hardly yet daring to trust himself too near so dangerous a foe, approached him cautiously, and peeped at him. Reynard addressed himself to him, with all the designing artifice imaginable. Dear cousin, says he, you see what an unfortunate accident has befallen me here, and all upon your account: for, as I was creeping through yonder hedge, in my way homeward, I heard you crow, and was resolved to ask you how you did before I went any farther; but I met with this disaster; and therefore now I must ask you for a knife to cut this string; or, at least, to conceal my misfortune till I have gnawed it asunder. The Cock, seeing how the case stood, made no reply, but posted away as fast as he could, and told the farmer, who came and killed the fox.

Moral:
To aid the vicious is to become a partner in their guilt.

Published in: on August 28, 2009 at 11:09 am  Leave a Comment  
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