aesop's fables - wikipedia, the free encyclopedia

A detail of the 13th-century Fontana Maggiore in Perugia

with the fables of The Wolf and the Crane and The Wolf

and the Lamb

Aesop's FablesFrom Wikipedia, the free encyclopedia

Aesop's Fables or the Aesopica is a collection of fablescredited to Aesop, a slave and story-teller believed tohave lived in ancient Greece between 620 and 560BCE. Of diverse origins, the stories associated withAesop's name have descended to modern times througha number of sources. They continue to be reinterpretedin different verbal registers and in popular as well asartistic mediums.

Contents

1 Fictions that point to the truth1.1 Fable as a genre1.2 Origins

2 Translation and transmission2.1 Greek versions2.2 Latin versions

3 Aesop's Fables in other languages4 Versions in regional languages

4.1 Creole4.2 Slang

5 Children6 Dramatised fables7 Musical treatments8 List of some fables by Aesop

8.1 Fables wrongly attributed to Aesop9 References10 Further reading11 External links

Fictions that point to the truth

Fable as a genre

Apollonius of Tyana, a 1st-century CE 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 greattruths, and after serving up a story he adds to it the advice to do a thing or not to do it. Then, too, hewas really more attached to truth than the poets are; for the latter do violence to their own stories inorder 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.

—Philostratus, Life of Apollonius of Tyana, Book V:14

Aesop's Fables - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Aesop's_Fables

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The Greek historian Herodotus mentioned in passing that "Aesop the fable writer" was a slave who lived in

Ancient Greece during the 5th century BCE.[1] Among references in other writers, Aristophanes, in his comedyThe Wasps, represented the protagonist Philocleon as having learnt the "absurdities" of Aesop from conversationat banquets; Plato wrote in Phaedo that Socrates whiled away his jail time turning some of Aesop's fables

"which he knew" into verses. Nonetheless, for two main reasons[2] – because numerous morals within Aesop'sattributed fables contradict each other, and because ancient accounts of Aesop's life contradict each other – the

modern view is that Aesop did not solely compose all those fables attributed to him, if he even existed at all.[2]

Instead, any fable tended to be ascribed to the name of Aesop if there was no known alternative literary

source.[3]

In Classical times there were various theorists who tried to differentiate these fables from other kinds of

narration. They had to be short and unaffected;[4] in addition, they are fictitious, useful to life and true to

nature.[5] In them could be found talking creatures and plants, although humans interacting only with humansfigure in a few. Typically they might begin with a contextual introduction, followed by the story, often with themoral underlined at the end. Setting the context was often necessary as a guide to the story's interpretation, as inthe case of the political meaning of The Frogs Who Desired a King and The Frogs and the Sun.

Sometimes the titles given later to the fables have become proverbial, as in the case of 'killing the Goose thatLaid the Golden Eggs or the Town Mouse and the Country Mouse. In fact some fables, such as The Young Manand the Swallow, appear to have been invented as illustrations of already existing proverbs. One theorist, indeed,

went so far as to define fables as extended proverbs.[6] In this they have an aetiological function, the explainingof origins such as, in another context, why the ant is a mean, thieving creature. Other fables, also verging on thisfunction, are outright jokes, as in the case of The Old Woman and the Doctor, aimed at greedy practitioners ofmedicine.

Origins

The contradictions between fables already mentioned and alternative versions of much the same fable - as in thecase of The Woodcutter and the Trees, are best explained by the ascription to Aesop of all examples of thegenre. Some are demonstrably of West Asian origin, others have analogues even further to the East. Modernscholarship reveals fables and proverbs of Aesopic form existing in both ancient Sumer and Akkad, as early as

the third millennium BCE.[7] Aesop's fables and the Indian tradition, as represented by the Buddhist JatakaTales and the Hindu Panchatantra, share about a dozen tales in common although often widely differing indetail. There is therefore some debate over whether the Greeks learned these fables from Indian storytellers orthe other way, or if the influences were mutual. Loeb editor Ben E. Perry took the extreme position in his bookBabrius and Phaedrus that

In the entire Greek tradition there is not, so far as I can see, a single fable that can be said to comeeither directly or indirectly from an Indian source; but many fables or fable-motifs that first appearin Greek or Near Eastern literature are found later in the Panchatantra and other Indian story-

books, including the Buddhist Jatakas.[8]

Although Aesop and the Buddha were near contemporaries, the stories of neither were recorded in writing untilsome centuries after their death and few disinterested scholars would now be prepared to make so absolute a

stand about their origin in view of the conflicting and still emerging evidence.[9][10]

Translation and transmission


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A Greek manuscript of the fables of

Babrius

Greek versions

When and how the fables arrived in and travelled from ancient Greeceremains uncertain. Some cannot be dated any earlier than Babrius andPhaedrus, several centuries after Aesop, and yet others even later. Theearliest mentioned collection was by Demetrius of Phalerum, anAthenian orator and statesman of the 4th century BCE, who compiledthe fables into a set of ten books for the use of orators. A follower ofAristotle, he simply catalogued all the fables that earlier Greek writershad used in isolation as exempla, putting them into prose. At least it wasevidence of what was attributed to Aesop by others; but this may haveincluded any ascription to him from the oral tradition in the way ofanimal fables, fictitious anecdotes, etiological or satirical myths, possiblyeven any proverb or joke, that these writers transmitted. It is more aproof of the power of Aesop's name to attract such stories to it thanevidence of his actual authorship. In any case, although the work ofDemetrius was mentioned frequently for the next twelve centuries, andwas considered the official Aesop, no copy now survives.

Present day collections evolved from the later Greek version of Babrius,of which there now exists an incomplete manuscript of some 160 fablesin choliambic verse. Current opinion is that he lived in the 1st centuryCE. In the 11th century appear the fables of 'Syntipas', now thought tobe the work of the Greek scholar Michael Andreopulos. These aretranslations of a Syriac version, itself translated from a much earlier Greek collection, and contain some fablesunrecorded before. The version of 55 fables in choliambic tetrameters by the 9th century CE Ignatius the

Deacon is also worth mentioning for its early inclusion of stories from Oriental sources.[11]

Some light is thrown on the entry of stories from Oriental sources into the Aesopic canon by their appearance inJewish commentaries on the Talmud and in Midrashic literature from the 1st century CE. Some 30 fables appear

there,[12] of which twelve resemble those that are common to both Greek and Indian sources, six are parallel tothose only in Indian sources, and six others in Greek only. Where similar fables exist in Greece, India, and in theTalmud, the Talmudic form approaches more nearly the Indian. Thus, the fable "The Wolf and the Crane" is toldin India of a lion and another bird. When Joshua ben Hananiah told that fable to the Jews, to prevent theirrebelling against Rome and once more putting their heads into the lion's jaws (Gen. R. lxiv.), he showsfamiliarity with some form derived from India.

Latin versions

The first extensive translation of Aesop into Latin iambic trimeters was performed by Phaedrus, a freedman ofAugustus in the 1st century CE, although at least one fable had already been translated by the poet Ennius twocenturies before, and others are referred to in the work of Horace. The rhetorician Aphthonius of Antioch wrotea treatise on, and converted into Latin prose, some forty of these fables in 315. This translation is notable asillustrating contemporary usage, both in these and in later times. The rhetoricians and philosophers often set theFables of Aesop as an exercise for their scholars, inviting them not only to discuss the moral of the tale, but alsoto practice style and the rules of grammar by making new versions of their own. A little later the poet Ausoniushanded down some of these fables in verse, which the writer Julianus Titianus translated into prose, and in theearly 5th century Avianus put 42 of these fables into Latin elegiacs.


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12th century pillar, cloister of the

Collegiata di Sant'Orso, Aosta: the

Fox and the Stork

The largest, oldest known and most influential of the prose versions ofPhaedrus bears the name of an otherwise unknown fabulist namedRomulus. It contains 83 fables, dates from the 10th century and seems tohave been based on an earlier prose version which, under the name of"Aesop" and addressed to one Rufus, may have been written in theCarolingian period or even earlier. The collection became the sourcefrom which, during the second half of the Middle Ages, almost all thecollections of Latin fables in prose and verse were wholly or partiallydrawn. A version of the first three books of Romulus in elegiac verse,possibly made around the 12th century, was one of the most highlyinfluential texts in medieval Europe. Referred to variously (among othertitles) as the verse Romulus or elegiac Romulus, it was a common Latinteaching text and was popular well into the Renaissance. Another versionof Romulus in Latin elegiacs was made by Alexander Neckam, born at StAlbans in 1157.

Interpretive "translations" of the elegiac Romulus were very common inEurope in the Middle Ages. Among the earliest was one in the 11thcentury by Ademar of Chabannes, which includes some new material.This was followed by a prose collection of parables by the Cistercianpreacher Odo of Cheriton around 1200 where the fables (many of which

are not Aesopic) are given a strong medieval and clerical tinge. This interpretive tendency, and the inclusion ofyet more non-Aesopic material, was to grow as versions in the various European vernaculars began to appear inthe following centuries.

With the revival of literary Latin during the Renaissance, authors began compiling collections of fables in whichthose traditionally by Aesop and those from other sources appeared side by side. One of the earliest was by

Lorenzo Bevilaqua, also known as Laurentius Abstemius, who wrote 197 fables,[13] the first hundred of whichwere published as Hecatomythium in 1495. Little by Aesop was included. At the most, some traditional fablesare adapted and reinterpreted: The Lion and the Mouse is continued and given a new ending (fable 52); TheOak and the Reed becomes "The Elm and the Willow" (53); The Ant and the Grasshopper is adapted as "TheGnat and the Bee" (94) with the difference that the gnat offers to teach music to the bee's children. There arealso Mediaeval tales such as The Mice in Council (195) and stories created to support popular proverbs such as'Still Waters Run Deep' (5) and 'A woman, an ass and a walnut tree' (65), where the latter refers back to Aesop'sfable of The Walnut Tree. Most of the fables in Hecatomythium were later translated in the second half of Roger

L'Estrange's Fables of Aesop and other eminent mythologists (1692);[14] some also appeared among the 102 inH. Clarke's Latin reader, Select fables of Aesop: with an English translation (1787), of which there were both

English and American editions.[15]

There were later three notable collections of fables in verse, among which the most influential was GabrieleFaerno's Centum Fabulae (1564). The majority of the hundred fables there are Aesop's but there are alsohumorous tales such as The drowned woman and her husband (41) and The miller, his son and the donkey(100). In the same year that Faerno was published in Italy, Hieronymus Osius brought out a collection of 294

fables titled Fabulae Aesopi carmine elegiaco redditae in Germany.[16] This too contained some fromelsewhere, such as The Dog in the Manger (67). Then in 1604 the Austrian Pantaleon Weiss, known as

Pantaleon Candidus, published Centum et Quinquaginta Fabulae.[17] The 152 poems there were grouped bysubject, with sometimes more than one devoted to the same fable, although presenting alternative versions of it,as in the case of The Hawk and the Nightingale (133-5). It also includes the earliest instance of The Lion, theBear and the Fox (60) in a language other than Greek.


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The fable of the farmer and his sons from

Caxton's edition

Aesop's Fables in other languages

The so-called Syntipas was a compilation of Aesopic fables in Syriac, many originally translated from theGreek, dating from the 9/11th centuries. Included there were several other tales of possibly West Asianorigin.[18]

In Central Asia there was a 10th-century collection of the fables in Uighur.[19]

Ysopet, an adaptation of some of the fables into Old French octosyllabic couplets, was written by Mariede France in the 12th century.[20] The morals with which she closes each fable reflect the feudal situationof her time.In the 13th century the Jewish author Berechiah ha-Nakdan wrote Mishlei Shualim, a collection of 103'Fox Fables' in Hebrew rhymed prose. This included many animal tales passing under the name of Aesop,as well as several more derived from Marie de France and others. Berechiah's work adds a layer ofBiblical quotations and allusions to the tales, adapting them as a way to teach Jewish ethics. The firstprinted edition appeared in Mantua in 1557.[21]

Äsop, an adaptation into Middle Low German verse of 125 Romulus fables, was written by Gerhard vonMinden around 1370.[22]

Chwedlau Odo ("Odo's Tales") is a 14th-century Welsh version of the animal fables in Odo of Cheriton’sParabolae. Many of these show sympathy for the poor and oppressed, with often sharp criticisms ofhigh-ranking church officials.[23]

Eustache Deschamps included several of Aesop's fables among his moral ballades, written in MediaevalFrench towards the end of the 14th century,[24] in one of which there is mention of what 'Aesop tells inhis book' (Ysoppe dit en son livre et raconte). In most, the telling of the fable precedes the drawing of amoral in terms of contemporary behaviour, but two comment on this with only contextual reference tofables not recounted in the text.Isopes Fabules was written in Middle English rhyme royal stanzas by the monk John Lydgate towards thestart of the 15th century.[25] Seven tales are included and heavy emphasis is laid on the moral lessons tobe learned from them.The Morall Fabillis of Esope the Phrygian was written in Middle Scots iambic pentameters by RobertHenryson about 1480.[26] In the accepted text it consists of thirteen versions of fables, seven modelled onstories from "Aesop" expanded from the Latin Romulus manuscripts.

The main impetus behind the translation of large collections offables attributed to Aesop and translated into Europeanlanguages came from an early printed publication in Germany.There had been many small selections in various languagesduring the Middle Ages but the first attempt at an exhaustiveedition was made by Heinrich Steinhőwel in his Esopus,published c.1476. This contained both Latin versions andGerman translations and also included a translation of Rinuccioda Castiglione (or d’Arezzo)'s version from the Greek of a lifeof Aesop (1448).[27] Some 156 fables appear, collected fromRomulus, Avianus and other sources, accompanied by acommentarial preface and moralising conclusion, and 205woodcuts.[28] Translations or versions based on Steinhöwel'sbook followed shortly in Italy (1479), France (1480) andEngland (the Caxton edition of 1484) and were many timesreprinted before the start of the 16th century. The Spanishversion of 1489, La vida del Ysopet con sus fabulas


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hystoriadas was equally successful and often reprinted in both the Old and New World through threecenturies.[29]

Ezopovy básnĕ (1480), a Czech translation of the fables, was one of earliest books printed in thatlanguage.[30]

47 fables were translated into Nahuatl in the late 16th century under the title In sasanilli in Esopo. Thework of a native translator, it adapted the stories to fit the Mexican environment, incorporating Aztecconcepts and rituals and making them rhetorically more subtle than their Latin source.[31]

Portuguese missionaries arriving in Japan at the end of the 16th century introduced Japan to the fableswhen a Latin edition was translated into romanized Japanese. The title was Esopo no Fabulas and dates to1593. This was soon followed by a fuller translation into a three-volume kanazōshi entitled Isopo

Monogatari (伊曾保物語).[32] This was the sole Western work to survive in later publication after theexpulsion of Westerners from Japan, since by that time the figure of Aesop had been acculturated andpresented as if he were Japanese.[33] Coloured woodblock editions of individual fables were made byKawanabe Kyosai in the 19th century.[34]

The first translations of Aesop's Fables into Chinese were made at the start of the 17th century, the firstsubstantial collection being of 38 conveyed orally by a Jesuit missionary named Nicolas Trigault andwritten down by a Chinese academic named Zhang Geng (Chinese: 張賡; pinyin: Zhāng Gēng) in 1625.This was followed two centuries later by Yishi Yuyan 《意拾喻言》 (Esop’s Fables: written in Chinese bythe Learned Mun Mooy Seen-Shang, and compiled in their present form with a free and a literal

translation) in 1840 by Robert Thom[35] and apparently based on the version by Roger L'Estrange.[36]

This work was initially very popular until someone realised the fables were anti-authoritiarian and thebook was banned for a while.[37] A little later, however, in the foreign concession in Shanghai, A.B.Cabaniss brought out a transliterated translation in Shanghai dialect, Yisuopu yu yan (伊娑菩喻言, 1856).There have also been 20th century translations by Zhou Zuoren and others.[38]

La Fontaine's Fables, published in French during the later 17th century, were inspired by the brevity andsimplicity of Aesop's.[39] Although the first six books are heavily dependent on traditional Aesopicmaterial, fables in the next six are more diffuse and of diverse origin.[40]

At the start of the 19th century, some of the fables were adapted into Russian, and often reinterpreted, bythe fabulist Ivan Krylov.[41] In most cases, but not all, these were dependent on La Fontaine's versions.Translations into the languages of India began at the very start of the 19th century. The Oriental Fabulist(1803) contained roman script versions in Bengali, Hindi and Urdu. Adaptations followed in Marathi(1806) and Bengali (1816), and then complete collections in Hindi (1837), Kannada (1840), Urdu (1850),Tamil (1853) and Sindhi (1854).[42]

Versions in regional languages

The 18th to 19th centuries saw a vast amount of fables in verse being written in all European languages.Regional languages and dialects in the Romance area made use of versions adapted from La Fontaine or theequally popular Jean-Pierre Claris de Florian. One of the earliest publications was the anonymous Fables

Causides en Bers Gascouns (Selected fables in the Gascon language, Bayonne, 1776), which contains 106.[43] J.Foucaud's Quelques fables choisies de La Fontaine en patois limousin in the Occitan Limousin dialect followed

in 1809.[44]

Versions in Breton were written by Pierre Désiré de Goësbriand (1784–1853) in 1836 and Yves Louis MarieCombeau (1799–1870) between 1836 and 1838. Two translations into Basque followed mid-century: 50 in J-B.Archu's Choix de Fables de La Fontaine, traduites en vers basques (1848) and 150 in Fableac edo aleguiac

Lafontenetaric berechiz hartuac (Bayonne, 1852) by Abbé Martin Goyhetche (1791–1859).[45] The turn of


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Provençal came in 1859 with Li Boutoun de guèto, poésies patoises by Antoine Bigot (1825–97), followed by

several other collections of fables in the Nîmes dialect between 1881 and 1891.[46] Alsatian (German) versionsof La Fontaine appeared in 1879 after the region was ceded following the Franco-Prussian War. At the end ofthe following century, Brother Denis-Joseph Sibler (1920–2002), published a collection of adaptations into thisdialect that has gone through several impressions since 1995.

There were many adaptations of La Fontaine into the dialects of the west of France (Poitevin-Saintongeais).

Foremost among these was Recueil de fables et contes en patois saintongeais (1849)[47] by lawyer and linguistJean-Henri Burgaud des Marets (1806–73). Other adaptors writing about the same time include Pierre-JacquesLuzeau (born 1808), Edouard Lacuve (1828–99) and Marc Marchadier (1830–1898). In the 20th century therehave been Marcel Rault (whose pen name is Diocrate), Eugène Charrier, Fr Arsène Garnier, Marcel

Douillard[48] and Pierre Brisard.[49] Further to the north, the journalist and historian Géry Herbert (1926–1985)

adapted some fables to the Cambrai dialect of Picard, known locally as Ch'ti.[50] More recent translators offables into this dialect have included Jo Tanghe (2005) and Guillaume de Louvencourt (2009).

During the 19th century renaissance of literature in Walloon dialect, several authors adapted versions of the

fables to the racy speech (and subject matter) of Liège.[51] They included Charles Duvivier (in 1842); JosephLamaye (1845); and the team of Jean-Joseph Dehin (1847, 1851-2) and François Bailleux (1851–67), who

between them covered books I-VI.[52] Adaptations into other dialects were made by Charles Letellier (Mons,1842) and Charles Wérotte (Namur, 1844); much later, Léon Bernus published some hundred imitations of La

Fontaine in the dialect of Charleroi (1872);[53] he was followed during the 1880s by Joseph Dufrane, writing inthe Borinage dialect under the pen-name Bosquètia. In the 20th century there has been a selection of fifty fables

in the Condroz dialect by Joseph Houziaux (1946),[54] to mention only the most prolific in an ongoing surge ofadaptation. The motive behind all this activity in both France and Belgium was to assert regional specificityagainst growing centralism and the encroachment of the language of the capital on what had until then beenpredominantly monoglot areas.

In the 20th century there have also been translations into regional dialects of English. These include theexamples in Addison Hibbard's Aesop in Negro Dialect (USA, 1926) and the twenty six in Robert Stephen'sFables of Aesop in Scots Verse (Peterhead, Scotland, 1987). The latter were in Aberdeenshire dialect (alsoknown as Doric). Glasgow University has also been responsible for R.W. Smith's modernised dialect translation

of Robert Henryson's The Morall Fabillis of Esope the Phrygian (1999, see above).[55] The University ofIllinois likewise included dialect translations by Norman Shapiro in its Creole echoes: the francophone poetryof nineteenth-century Louisiana (2004, see below).

Creole

Caribbean creole also saw a flowering of such adaptations from the middle of the 19th century onwards –initially as part of the colonialist project but later as an assertion of love for and pride in the dialect. A version ofLa Fontaine's fables in the dialect of Martinique was made by François-Achille Marbot (1817–66) in Les

Bambous, Fables de la Fontaine travesties en patois (1846).[56] In neighbouring Guadeloupe original fableswere being written by Paul Baudot (1801–70) between 1850 and 1860 but these were not collected untilposthumously. Some examples of rhymed fables appeared in a grammar of Trinidadian French creole written byJohn Jacob Thomas (1840–89) that was published in 1869. The start of the new century saw the publication ofGeorges Sylvain’s Cric? Crac! Fables de la Fontaine racontées par un montagnard haïtien et transcrites en

vers créoles (La Fontaine’s fables told by a Haiti highlander and written in creole verse, 1901).[57]

On the South American mainland, Alfred de Saint-Quentin published a selection of fables freely adapted from


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Cover of the French edition of Les

Bambous

La Fontaine into Guyanese creole in 1872. This was among a collection ofpoems and stories (with facing translations) in a book that also included a

short history of the territory and an essay on creole grammar.[58] On theother side of the Caribbean, Jules Choppin (1830–1914) was adapting LaFontaine to the Louisiana slave creole at the end of the 19th century. Threeof these versions appear in the anthology Creole echoes: the francophonepoetry of nineteenth-century Louisiana (University of Illinois, 2004) with

dialect translations by Norman Shapiro.[59] All of Choppin's poetry has beenpublished by the Centenary College of Louisiana (Fables et Rêveries,

2004).[60] The New Orleans author Edgar Grima (1847–1939) also adapted

La Fontaine into both standard French and into dialect.[61]

Versions in the French creole of the islands in the Indian Ocean begansomewhat earlier than in the Caribbean. Louis Héry (1801–56) emigratedfrom Brittany to Réunion in 1820. Having become a schoolmaster, headapted some of La Fontaine's fables into the local dialect in Fables créolesdédiées aux dames de l’île Bourbon (Creole fables for island women). This

was published in 1829 and went through three editions.[62] In addition 49fables of La Fontaine were adapted to the Seychelles dialect around 1900 by

Rodolphine Young (1860–1932) but these remained unpublished until 1983.[63] Jean-Louis Robert's recent

translation of Babrius into Réunion creole (2007)[64] adds a further motive for such adaptation. Fables began asan expression of the slave culture and their background is in the simplicity of agrarian life. Creole transmits thisexperience with greater purity than the urbane language of the slave-owner.

Slang

Fables belong essentially to the oral tradition; they survive by being remembered and then retold in one's ownwords. When they are written down, particularly in the dominant language of instruction, they lose something oftheir essence. A strategy for reclaiming them is therefore to exploit the gap between the written and the spokenlanguage. One of those who did this in English was Sir Roger L'Estrange, who translated the fables into the racyurban slang of his day and further underlined their purpose by including in his collection many of the subversive

Latin fables of Laurentius Abstemius.[65] In France the fable tradition had already been renewed in the 17thcentury by La Fontaine's influential reinterpretations of Aesop and others. In the centuries that followed therewere further reinterpretations through the medium of regional languages, which to those at the centre wereregarded as little better than slang. Eventually, however, the demotic tongue of the cities themselves began to beappreciated as a literary medium.

One of the earliest examples of these urban slang translations was the series of individual fables contained in asingle folded sheet, appearing under the title of Les Fables de Gibbs in 1929. Others written during the periodwere eventually anthologised as Fables de La Fontaine en argot (Etoile sur Rhône 1989). This followed thegenre's growth in popularity after World War II. Two short selections of fables by Bernard Gelval about 1945were succeeded by two selections of 15 fables each by 'Marcus' (Paris 1947, reprinted in 1958 and 2006), ApiCondret's Recueil des fables en argot (Paris, 1951) and Géo Sandry (1897–1975) and Jean Kolb's Fables enargot (Paris 1950/60). The majority of such printings were privately produced leaflets and pamphlets, often sold

by entertainers at their performances, and are difficult to date.[66] Some of these poems then entered the

repertoire of noted performers such as Boby Forest and Yves Deniaud, of which recordings were made.[67] Inthe south of France, Georges Goudon published numerous folded sheets of fables in the post-war period.

Described as monologues, they use Lyon slang and the Mediterranean Lingua Franca known as Sabir.[68] Slang


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Walter Crane title page, 1887

versions by others continue to be produced in various parts of France, both in printed and recorded form.

Children

The first printed version of Aesop's Fables in English was publishedon March 26, 1484, by William Caxton. Many others, in prose andverse, followed over the centuries. In the 20th century Ben E. Perryedited the Aesopic fables of Babrius and Phaedrus for the LoebClassical Library and compiled a numbered index by type in

1952.[69] Olivia and Robert Temple's Penguin edition is titled TheComplete Fables by Aesop (1998) but in fact many from Babrius,Phaedrus and other major ancient sources have been omitted. Morerecently, in 2002 a translation by Laura Gibbs titled Aesop's Fableswas published by Oxford World's Classics. This book includes 359and has selections from all the major Greek and Latin sources.

Until the 18th century the fables were largely put to adult use byteachers, preachers, speech-makers and moralists. It was thephilosopher John Locke who first seems to have advocated targetingchildren as a special audience in Some Thoughts ConcerningEducation (1693). Aesop's fables, in his opinion are

apt to delight and entertain a child. . . yet afford useful reflection to a grown man. And if hismemory retain them all his life after, he will not repent to find them there, amongst his manlythoughts and serious business. If his Aesop has pictures in it, it will entertain him much better, andencourage him to read when it carries the increase of knowledge with it For such visible objectschildren hear talked of in vain, and without any satisfaction, whilst they have no ideas of them;those ideas being not to be had from sounds, but from the things themselves, or their pictures.

—[70]

That young people are a special target for the fables was not a particularly new idea and a number of ingeniousschemes for catering to that audience had already been put into practice in Europe. The Centum Fabulae ofGabriele Faerno was commissioned by Pope Pius IV in the 16th century 'so that children might learn, at thesame time and from the same book, both moral and linguistic purity'. When King Louis XIV of France wanted toinstruct his six-year-old son, he incorporated the series of hydraulic statues representing 38 chosen fables in thelabyrinth of Versailles in the 1670s. In this he had been advised by Charles Perrault, who was later to translate

Faerno's widely published Latin poems into French verse and so bring them to a wider audience.[71] Then in the1730s appeared the eight volumes of Nouvelles Poésies Spirituelles et Morales sur les plus beaux airs, the firstsix of which incorporated a section of fables specifically aimed at children. In this the fables of La Fontainewere rewritten to fit popular airs of the day and arranged for simple performance. The preface to this workcomments that 'we consider ourselves happy if, in giving them an attraction to useful lessons which are suited totheir age, we have given them an aversion to the profane songs which are often put into their mouths and which

only serve to corrupt their innocence.'[72] The work was popular and reprinted into the following century.

In the UK various authors began to develop this new market in the 18th century, giving a brief outline of thestory and what was usually a longer commentary on its moral and practical meaning. The first of such works isReverend Samuel Croxall's Fables of Aesop and Others, newly done into English with an Application to eachFable. First published in 1722, with engravings by Elisha Kirkall for each fable, it was continuously reprinted


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into the second half of the 19th century.[73] Another popular collection was John Newbery's Fables in Verse forthe Improvement of the Young and the Old, facetiously attributed to Abraham Aesop Esquire, which was to see

ten editions after its first publication in 1757.[74] Robert Dodsley's three-volume Select Fables of Esop andother Fabulists is distinguished for several reasons. First that it was printed in Birmingham by John Baskervillein 1761; second that it appealed to children by having the animals speak in character, the Lion in regal style, the

Owl with 'pomp of phrase';[75] thirdly because it gathers into three sections fables from ancient sources, thosethat are more recent (including some borrowed from Jean de la Fontaine), and new stories of his own invention.

Thomas Bewick's editions from Newcastle upon Tyne are equally distinguished for the quality of his woodcuts.

The first of those under his name was the Select Fables in Three Parts published in 1784.[76] This was followedin 1818 by The Fables of Aesop and Others. The work is divided into three sections: the first has some ofDodsley's fables prefaced by a short prose moral; the second has 'Fables with Reflections', in which each story isfollowed by a prose and a verse moral and then a lengthy prose reflection; the third, 'Fables in Verse', includesfables from other sources in poems by several unnamed authors; in these the moral is incorporated into the body

of the poem.[77]

In the early 19th century authors turned to writing verse specifically for children and included fables in theiroutput. One of the most popular was the writer of nonsense verse, Richard Scrafton Sharpe (died 1852), whoseOld Friends in a New Dress: familiar fables in verse first appeared in 1807 and went through five steadily

augmented editions until 1837.[78] Jefferys Taylor's Aesop in Rhyme, with some originals, first published in1820, was as popular and also went through several editions. The versions are lively but Taylor takesconsiderable liberties with the story line. Both authors were alive to the over serious nature of the 18th centurycollections and tried to remedy this. Sharpe in particular discussed the dilemma they presented andrecommended a way round it, tilting at the same time at the format in Croxall's fable collection:

It has been the accustomed method in printing fables to divide the moral from the subject; andchildren, whose minds are alive to the entertainment of an amusing story, too often turn from onefable to another, rather than peruse the less interesting lines that come under the term“Application”. It is with this conviction that the author of the present selection has endeavoured tointerweave the moral with the subject, that the story shall not be obtained without the benefitarising from it; and that amusement and instruction may go hand in hand.

—[79]

Sharpe was also the originator of the limerick, but his versions of Aesop are in popular song measures and it wasnot until 1887 that the limerick form was ingeniously applied to the fables. This was in a magnificentlyhand-produced Arts and Crafts Movement edition, The Baby's Own Aesop: being the fables condensed in

rhyme with portable morals pictorially pointed by Walter Crane.[80]

Some later prose editions were particularly notable for their illustrations. Among these was Aesop's fables: anew version, chiefly from original sources (1848) by Thomas James, 'with more than one hundred illustrations

designed by John Tenniel'.[81] Tenniel himself did not think highly of his work there and took the opportunity toredraw some in the revised edition of 1884, which also used pictures by Ernest Henry Griset and Harrison

Weir.[82] Once the technology was in place for coloured reproductions, illustrations became ever moreattractive. Notable early 20th century editions include V.S. Vernon Jones' new translation of the fables

accompanied by the pictures of Arthur Rackham (London, 1912)[83] and in the USA Aesop for Children

(Chicago, 1919), illustrated by Milo Winter.[84]

The illustrations from Croxall's editions were an early inspiration for other artefacts aimed at children. In the


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Brownhills alphabet plate, Aesop's Fables

series, The Fox and the Grapes c.1880

18th century they appear on tableware from the Chelsea, Wedgwood

and Fenton potteries, for example.[85] 19th century examples with adefinitely educational aim include the fable series used on thealphabet plates issued in great numbers from the Brownhills Potteryin Staffordshire. Fables were used equally early in the design of tilesto surround the nursery fireplace. The latter were even more popularin the 19th century when there were specially designed series from

Mintons,[86] Minton-Hollins and Maw & Co. In France too,well-known illustrations of La Fontaine's fables were often used on

china.[87]

Dramatised fables

The success of La Fontaine's fables in France started a Europeanfashion for creating plays around them. The originator was Edmé

Boursault, with his five-act verse drama Les Fables d'Esope (1690), later retitled Esope à la ville (Aesop intown). Such was its popularity that a rival theatre produced Eustache Le Noble's Arlaquin-Esope in thefollowing year. Boursault then wrote a sequel, Esope à la cour (Aesop at court), a heroic comedy that was held

up by the censors and not produced until after his death in 1701.[88] Some forty years later Charles StephenPesselier wrote two one-act pieces, Esope au Parnasse and Esope du temps.

Esope à la ville was written in alexandrine couplets and depicted a physically ugly Aesop acting as adviser toLearchus, governor of Cyzicus under King Croesus, and using his fables to solve romantic problems and quietpolitical unrest. One of the problems is personal to Aesop, since he is betrothed to the governor's daughter, whodetests him and has a young admirer with whom she is in love. There is very little action, the play serving as aplatform for the recitation of free verse fables at frequent intervals. These include The Fox and the Weasel, TheFox and the Mask, The Nightingale, The Belly and the Other Members, the Town Mouse and the CountryMouse, the Lark and the Butterfly, the Fox and the Crow, the Crab and her Daughter, the Frog and the Ox, theCook and the Swan, the Doves and the Vulture, the Wolf and the Lamb, the Mountain in Labour, and The Man

with two Mistresses.[89]

Esope à la cour is more of a moral satire, most scenes being set pieces for the application of fables to moral

problems, but to supply romantic interest Aesop's mistress Rhodope is introduced.[90] Among the sixteen fablesincluded, some four derive from La Fontaine – the Heron, the Lion and the Mouse, the Dove and the Ant, theSick Lion – a fifth borrows a moral from another of his but alters the details, and a sixth has as apologue amaxim of Antoine de La Rochefoucauld. After a modest few performances, the piece later grew in popularity

and remained in the repertory until 1817.[91] Boursault's play was also influential in Italy and twice translated. Itappeared from Bologna in 1719 under the title L’Esopo in Corte, translated by Antonio Zaniboni, and as LeFavole di Esopa alla Corte from Venice in 1747, translated by Gasparo Gozzi. The same translator wasresponsible for a version of Esope à la ville (Esopo in città, Venice, 1748); then in 1798 there was an

anonymous Venetian three-act adaptation, Le Favole di Esopa, ossia Esopo in città.[92] In England the play wasadapted under the title Aesop by John Vanbrugh and first performed at the Theatre Royal, Drury Lane in

London in 1697, remaining popular for the next twenty years.[93]

In the 20th century individual fables by Aesop began to be adapted to animated cartoons, most notably inFrance and the United States. Cartoonist Paul Terry began his own series, called Aesop's Film Fables, in 1921but by the time this was taken over by Van Beuren Studios in 1928 the story lines had little connection with anyfable of Aesop's. In the early 1960s, animator Jay Ward created a television series of short cartoons called Aesop


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Dramatisation of a different sort: the

former statues of "The Fox and the

Crane" in the labyrinth of Versailles

and Son which were first aired as part of The Rocky and BullwinkleShow. Actual fables were spoofed to result in a pun based on theoriginal moral. Two fables are also featured in the 1971 TV movieAesop’s Fables in the U.S.A. Here Aesop is a black story teller whorelates two turtle fables, The Tortoise and the Eagle and the Tortoiseand the Hare to a couple of children who wander into an enchanted

grove. The fables themselves are shown as cartoons.[94]

Between 1989 and 1991, fifty Aesop-based fables were reinterpretedon French television as Les Fables géométriques and later issued onDVD. These featured a cartoon in which the characters appeared as anassembly of animated geometric shapes, accompanied by Pierre

Perret's slang versions of La Fontaine's original poem.[95] In 1983there was an extended manga version of the fables made in Japan,

Isoppu monogatari,[96] and there has also been a Chinese television

series for children based on the stories.[97]

There have also been several dramatic productions for children basedon elements of Aesop's life and including the telling of some fables,although most were written as purely local entertainments. Amongthese was Canadian writer Robertson Davies' A Masque of Aesop(1952), which was set at his trial in Delphi and allows the defendant totell the fables The Belly and the Members, The Town Mouse and theCountry Mouse and The Cock and the Jewel while challenging

prevailing social attitudes.[98] In the United States the fables havebeen used as the basis for ballets put on by regional ballet companies which have been aimed at children andinclude a narrator as one of their elements. The Aesop's Fables of Berkshire Ballet included the fables TheTortoise and the Hare, The Bird in Borrowed Feathers, The Goose that Laid the Golden Eggs, The North Wind

and the Sun and The Lion and the Shepherd.[99] The similarly titled production of Nashville Ballet wavestogether The Tortoise and the Hare, The Fox and the Crow, The North Wind and the Sun and The Ant and the

Grasshopper to depict Aesop winning his freedom from slavery through his cautionary storytelling.[100]

The musical Aesop's Fables by British playwright Peter Terson, first produced in 1983, is similarly themed.[101]

What lifted this work into another class was Mark Dornford-May's adaptation for the Isango Portobello

company at the Fugard Theatre in Cape Town, South Africa, in 2010.[102] The play tells the story of the blackslave Aesop, who learns that freedom is earned and kept through being responsible. His teachers are the animalcharacters he meets on his journeys. The fables they suggest include The Tortoise and the Hare, the Lion and theGoat, the Wolf and the Crane, the Frogs Who Desired a King and three others, brought to life through a musical

score featuring mostly marimbas, vocals and percussion.[103] Another colourful treatment was Brian Seward'sAesop’s Fabulous Fables (2009) in Singapore, which mixes a typical musical with Chinese dramatic

techniques.[104]

Musical treatments

While musical settings of La Fontaine's Fables began appearing in France within a few decades of theirpublication, it was not until the 19th century that composers began to take their inspiration directly from Aesop.One of the earliest works was the anonymous A Selection of Aesop's Fables Versified and Set to Music withSymphonies and Accompaniments for the Piano Forte, published in London in 1847. It was a large selection


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containing 28 versified fables.[105] Mabel Wood Hill's Aesop's Fables Interpreted Through Music (New York

1920) was less ambitious, setting only seven prosaic texts.[106] Among later British treatments there have beenEdward Hughes' Songs from Aesop's fables for children’s voices and piano (1965), for which he asked the poetPeter Westmore to provide ten texts, and Arwel Hughes' Songs from Aesop's Fables for unison voices.

There have also been purely instrumental settings, one of the earliest of which was Charles Valentin Alkan’s Lefestin d'Ésope ("Aesop’s Feast", 1857), a set of piano variations in which each variation is said to depict a

different animal or scene from Aesop’s fables.[107] More recently, the American composer Robert J. Bradshaw(born 1970) dedicated his 3rd Symphony (2005) to the fables. A programme note explains that "the purpose of

this work is to excite young musicians and audiences to take an interest in art music".[108] This seems to havebeen the aim of other Americans as well. Following the example of Sergei Prokoviev in "Peter and the Wolf"(1936), Vincent Persichetti set six for narrator and orchestra in his "Fables" (Op. 23 1943). He was laterfollowed by Scott Watson, whose Aesop's Fables is a setting of four for narrator and orchestral

accompaniment;[109] and by Anthony Plog, whose set of five fables was set for narrator, horn and piano(1989/93), and a further four in 2011. David Edgar Walther has also set four as "short operatic dramas" to his

own libretto, some of which were performed in 2009 and 2010.[110]

Werner Egk's early settings in Germany were also aimed at children. His Der Löwe und die Maus (The Lion andthe Mouse 1931) was a singspiel drama for small orchestra and children's choir; aimed at 12- to 14-year-olds, it

was built on an improvisation by the composer's own children.[111] He followed this with Der Fuchs und derRabe (The Fox and the Crow) in 1932. Hans Poser's Die Fabeln des Äsop (Op. 28, 1956) was set for

accompanied men's chorus and uses Martin Luther's translation of six.[112] Others who have set German textsfor choir include Herbert Callhoff (1963) and Andre Asriel (1972).

There has also been a setting of four Latin texts in the Czech composer Ilja Hurník's Ezop for mixed choir andorchestra (1964). And in 2010 the Greek Lefteris Kordis gave a performance of his 'Aesop Project', a setting ofseven fables which mixes traditional East Mediterranean and Western Classical musical textures, combined withelements of jazz. After an English recitation by male narrator, a female singer of the Greek wording is

accompanied by an octet.[113]

List of some fables by Aesop

The Ant and theGrasshopperThe Ape and the FoxThe Ass and his MastersThe Ass and the PigThe Ass Carrying an ImageThe Ass in the Lion's SkinThe Astrologer who Fell intoa WellThe Bird-catcher and theBlackbirdThe Bear and the TravelersThe BeaverThe Belly and the OtherMembers

The Bird in BorrowedFeathersThe Boy Who Cried WolfThe Cat and the MiceThe Cock and the JewelThe Cock, the Dog and theFoxThe Crow and the PitcherThe Crow and the SheepThe Crow and the SnakeThe Deer without a HeartThe Dog and its ReflectionThe Dog and the WolfThe Dove and the AntThe Farmer and the StorkThe Farmer and the Viper

The Fir and the BrambleThe Fisherman and the LittleFishThe Fowler and the SnakeThe Fox and the CrowThe Fox and the GrapesThe Fox and the MaskThe Fox and the Sick LionThe Fox and the StorkThe Fox and the WeaselThe Fox and the WoodmanThe Frog and the MouseThe Frog and the OxThe Frogs and the SunThe Frogs Who Desired aKing


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The Goat and the VineThe Goose that Laid theGolden EggsHercules and the WagonerThe Honest WoodcutterThe Horse and the DonkeyThe Lion and the FoxThe Lion and the MouseThe Lion's ShareThe Lion, the Bear and theFoxThe Man with two MistressesThe Mischievous DogThe Miser and his GoldThe Mountain in LabourThe Mouse and the Oyster

The North Wind and the SunThe Oak and the ReedThe Old Man and DeathThe Old Woman and theDoctorThe Rose and the AmaranthThe Satyr and the TravellerThe Sick KiteThe Snake and the CrabThe Snake and the FarmerThe Snake in the Thorn BushThe Tortoise and the BirdsThe Tortoise and the HareTown Mouse and CountryMouse

The Travellers and the PlaneTreeThe Trees and the BrambleThe Trumpeter TakenCaptiveThe Two PotsVenus and the CatThe Walnut TreeWashing the Ethiopian whiteThe Wolf and the CraneThe Wolf and the LambThe Woodcutter and theTreesThe Young Man and theSwallow

Fables wrongly attributed to Aesop

An ass eating thistlesThe Bear and the GardenerBelling the cat (also knownas The Mice in Council)The Blindman and the LameThe Boy and the FilbertsChanticleer and the FoxThe Dog in the MangerThe drowned woman and herhusband

The Elm and the VineThe Fox and the CatThe Gourd and thePalm-treeThe Hawk and theNightingaleJumping from the frying paninto the fireThe milkmaid and her pail

The miller, his son and thedonkeyThe Monkey and the CatThe Priest and the WolfThe Shepherd and the LionStill waters run deepThe Wolf in Sheep's Clothing

References

^ The Histories of Herodotusof Halicarnassus. trans. GeorgeRawlinson, Book I, p.132(http://www.omphaloskepsis.com/ebooks/pdf/hrdts.pdf)

1.

^ a b D. L. Ashliman,“Introduction,” in George Stade(Consulting Editorial Director),Aesop’s Fables. New York,New York: Barnes & NobleClassics, published by Barnes& Noble Books (2005).Produced and published inconjunction with New York,New York: Fine CreativeMedia, Inc. Michael J. Fine,President and Publisher. See pp.xiii-xv and xxv-xxvi.

2.

^ Christos A. Zafiropoulos,Ethics in Aesop's Fables,Leiden 2001, pp.10-12(http://books.google.co.uk/books?id=-blOQAp553IC&dq=%22Aesop%27s+Fables%22+corpus&q=%22The+term+Aesopic+that%22#v=snippet&q=%22The%20term%20Aesopic%20that%22&f=false)

3.

^ Zafiropoulos, Ethics inAesop's Fables, p.4

4.

^ G. J. Van Dijk, Ainoi, Logoi,Mythoi, Leiden 1997, p.57(http://books.google.co.uk/books?id=QKQFJduPIdcC&lpg=PP1&pg=PA57#v=onepage&q=%22Hermog.%20Prog.%201%22&f=false)

5.

^ Francisco Rodríguez Adrados,History of the Graeco-LatinFable vol.1, Leiden 1999. p.7(http://books.google.co.uk/books?id=093Gl8KEktMC&lpg=PA7&vq=%22an%20extended%20proverb.%22%20Theocritus&pg=PA7#v=snippet&q=%22an%20extended%20proverb.%22%20Theocritus&f=false)

6.


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^ John F. Priest, "The Dog inthe Manger: In Quest of aFable," in The ClassicalJournal, Volume 81, No. 1,(October–November, 1985), pp.49-58.

7.

^ Perry, Ben E. "Introduction",Babrius and Phaedrus, 1965, p.xix.

8.

^ van Dijk, Gert-Jan. Ainoi,logoi, mythoi: fables in archaic,classical, and Hellenistic Greekliterature, Brill, Leiden,Netherlands, 1997.

9.

^ Adrados, FranciscoRodríguez; van Dijk, Gert-Jan.History of the Graeco-Latinfable, 3 Volumes, Brill, Leiden,Netherlands, 1999.

10.

^ Ashliman, D.L."Introduction", Aesop's Fables,2003, p. xxii.

11.

^ There is a comparative list ofthese on the JewishEncyclopedia website(http://www.jewishencyclopedia.com/articles/874-aesop-s-fables-among-the-jews)

12.

^ "Accessible online"(http://aesopus.pbworks.com/w/page/1471359/abstemius).Aesopus.pbworks.com.Retrieved 2012-03-22.

13.

^ "Accessible online"(http://www.mythfolklore.net/aesopica/lestrange).Mythfolklore.net. Retrieved2012-03-22.

14.

^ "Archived online"(http://www.archive.org/details/fabulaeaesopisel00clariala).Archive.org. Retrieved2012-03-22.

15.

^ "Accessible online"(http://aesopus.pbworks.com/w/page/1472440/osius).Aesopus.pbworks.com.Retrieved 2012-03-22.

16.

^ "Available online"(http://aesopus.pbworks.com/w/page/1472518/pantaleon).Aesopus.pbworks.com.Retrieved 2012-03-22.

17.

^ Francisco Rodríguez Adrados,History of the Graeco-LatinFable 1, Leiden NL 1999,pp.132-5(http://books.google.co.uk/books?id=093Gl8KEktMC&lpg=PA133&ots=u46NHirhnk&dq=Syntipas%20%20Syriac&pg=PA133#v=onepage&q=Syntipas%20%20Syriac&f=false)

18.

^ Susan Whitfield, Life Alongthe Silk Road, University ofCalifornia 2001, p.218(http://books.google.co.uk/books?id=uauW9cvqKGYC&lpg=PA218&dq=translated%20%22Aesop's%20Fables%22&pg=PA218#v=onepage&q=translated%20%22Aesop's%20Fables%22&f=false)

19.

^ The Fables of Marie deFrance translated by Mary LouMartin, Birmingham AL, 1979;limited preview to p.51 atGoogle Books(http://books.google.co.uk/books?id=6iHIlvyXpNQC&pg=PA51&lpg=PA51&dq=marie+de+france++the+town+mouse+and+the+country+mouse&source=bl&ots=oTM-vAx8LP&sig=jj_0PdH1d4V3h16ZDQRyPRU4LlQ&hl=en&ei=QOj4S4SiBIXu0wSJssXpBw&sa=X&oi=book_result&ct=result&resnum=1&ved=0CBkQ6AEwAA#v=onepage&q&f=false)

20.

^ An English translation byMoses Hadas, titled Fables of aJewish Aesop, first appeared in1967. A limited preview isavailable at Google Books(http://books.google.co.uk/books?id=s6EjsopJmp4C&printsec=frontcover&dq=%22fables+of+a+jewish+aesop%22&source=bl&ots=8ZHF6DGhhx&sig=yZCPFion1rTDi2jZegJpEERAt5I&hl=en&ei=amA9TOylOqX60wSw8O3WDg&sa=X&oi=book_result&ct=result&resnum=1&ved=0CBgQ6AEwAA#v=onepage&q&f=false).Books.google.co.uk. Retrieved2012-03-22.

21.

^ There is a discussion of thiswork in French in Épopéeanimale, fable, fabliau, Paris,1984, pp.423-432; limitedpreview at Google Books(http://books.google.co.uk/books?id=HeY9wVDpM80C&pg=PA423&lpg=PA423&dq=Gerhard+von+Minden&source=bl&ots=TIfJE6ErSk&sig=VX5J4fyWARq0L_8x0BXo8gO0xas&hl=en&ei=Ve74S7WSEZHw0wTc1tXpBw&sa=X&oi=book_result&ct=result&resnum=6&ved=0CCsQ6AEwBTgU#v=onepage&q=Gerhard%20von%20Minden&f=false)

22.


15 of 22 12/17/2013 2:29 PM

^ There is a translation by JohnC. Jacobs: The Fables of Odoof Cheriton, New York, 1985; alimited preview on GoogleBooks(http://books.google.co.uk/books?id=8_3W9cYwNWkC&printsec=frontcover&dq=%22the+fables+of+odo+of+cheriton%22&source=bl&ots=DqCy5xgUMn&sig=nmCBskyFFDVuRgoHfY-rcz2WKpo&hl=en&ei=ZvYHTPqTNpi80gTe0Y1e&sa=X&oi=book_result&ct=result&resnum=2&ved=0CBsQ6AEwAQ#v=onepage&q&f=false)

23.

^ Poésies morales ethistoriques d’EustacheDeschamps, Paris 1832, Fablesen ballades pp. 187-202(http://booksnow2.scholarsportal.info/ebooks/oca4/25/posiesmoralese00descuoft/posiesmoralese00descuoft_bw.pdf)

24.

^ "The text is available here"(http://xtf.lib.virginia.edu/xtf/view?docId=chadwyck_ep/uvaGenText/tei/chep_1.0283.xml;chunk.id=d144;toc.depth=1;toc.id=d144;brand=default).Xtf.lib.virginia.edu. Retrieved2012-03-22.

25.

^ "A modernised version isavailable here"(http://www.arts.gla.ac.uk/STELLA/STARN/poetry/HENRYSON/fables/contents.htm). Arts.gla.ac.uk.Retrieved 2012-03-22.

26.

^ A reproduction of a muchlater edition is available atArchive.org(http://www.archive.org/stream/steinhwelssop01phaegoog#page/n7/mode/1up)

27.

^ Several versions of thewoodcuts can be viewed atPBworks.com(http://aesopus.pbworks.com/steinhowel)

28.

^ A translation is available atGoogle Books(http://books.google.co.uk/books?id=jBm0xzttYecC&pg=PP4&lpg=PP4&dq=aesop+++spain&source=bl&ots=4XaMGV2hl_&sig=2SFpepv82ITz7Jf28DGMUHDuhk8&hl=en&ei=cOYGTIqbG5L-0gTehuSdDA&sa=X&oi=book_result&ct=result&resnum=6&ved=0CCcQ6AEwBQ#v=onepage&q=aesop%20%20%20spain&f=false).Books.google.co.uk.1993-04-22. Retrieved2012-03-22.

29.

^ Hugh LeCaine Agnew,Origins of the Czech NationalRenascence, University ofPittsburgh 1994, p.124(http://books.google.co.uk/books?id=PzQMZcavT50C&lpg=PA124&dq=translated%20%22Aesop's%20Fables%22&pg=PA124#v=onepage&q=translated%20%22Aesop's%20Fables%22&f=false)

30.

^ Gordon Brotherston, Book ofthe Fourth World: Reading theNative Americas Through TheirLiterature, CambridgeUniversity Press 1992, pp.315-9(http://books.google.co.uk/books?id=kSY4AAAAIAAJ&lpg=PA315&ots=XRsvSuNZ1u&dq=Aesop%20%20%22Nahuatl%22&pg=PA315#v=onepage&q=Aesop%20%20%22Nahuatl%22&f=false)

31.

^ Yuichi Midzunoe, "Aesop’sarrival in Japan in the 1590s",Online version(http://pweb.sophia.ac.jp/britto/xavier/midzunoe/midzuyui.pdf)

32.

^ Lawrence Marceau, FromAesop to Esopo to Isopo:Adapting the Fables in LateMedieval Japan (2009); anabstract of this paper appearson p.277 (http://jsaa-icjle2009.arts.unsw.edu.au/common/papers_final_090722.pdf)

33.

^ A print of he fable of the twopots appears on artelino.com(http://www.artelino.com/archive/artist_catalog_show.asp?alp=&art=1325&cay=1&pp=7&pp1=1&rp=68&rp1=1&rp2=68&lvl=2&sea=&tie=Kyosai%20Kawanabe%201831-1889%20-%20Two%20Vases%20-%20Tales%20of%20Aesop%20-%20artelino#)

34.

^ Kaske, Elisabeth (2007). ThePolitics of Language in ChineseEducation, 1895–1919(http://books.google.co.uk/books?id=okhrBBmnHVQC&pg=PA68&lpg=PA68&dq=robert+thom+translator&source=bl&ots=prF4GVBkYy&sig=cS4OveiYwlGS-5kMhCDhDomyDoE&hl=en&sa=X&ei=tJGnT4ntI8fG8gP9j7zPBA&sqi=2&ved=0CFQQ6AEwAw#v=onepage&q=robert%20thom%20translator&f=false). Brill.ISBN 978-90-04-16367-6. p. 68

35.

^ [Chinese Repository, Vol. 7(October 1838), p. 335. Thomwas based in Canton and hiswork was issued in three octavotracts of seven, seventeen, andtwenty-three pages respectively]

36.


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^ Tao Ching Sin, “A criticalstudy of Yishi Yuyan”, M.Philthesis, University of Hong Kong,2007 Available online(http://webcache.googleusercontent.com/search?q=cache:2RrPMc-exF8J:repository.hku.hk/bitstream/10722/54498/1/FullText.html+Aesop+in+China+Zhou+Zuoren&cd=10&hl=en&ct=clnk&gl=uk&source=www.google.co.uk)

37.

^ “A comparative study oftranslated children’s literatureby Lu Xun and Zhou Zuoren”,Journal of Macao PolytechnicInstitute, 2009 available online(http://www.ipm.edu.mo/p_journal/2009/09eng_3/69_b.pdf)

38.

^ "Préface aux Fables de LaFontaine"(http://www.memodata.com/2004/fr/fables_de_la_fontaine/lf3.shtml). Memodata.com.Retrieved 2012-03-22.

39.

^ An English translation of allthe fables can be accessedonline (http://oaks.nvg.org/fontaine.html)

40.

^ Kriloff's Fables, translatedinto the original metres by C.Fillingham Coxwell, London1920; the book is archivedonline (http://www.archive.org/stream/kriloffsfables00kryl#page/n3/mode/2up)

41.

^ Sisir Kumar Das, A History ofIndian Literature 1800–1910:Western impact, Indianresponse, Sahitya Akademi1991 (http://books.google.co.uk/books?id=sHklK65TKQ0C&lpg=PA109&dq=translated%20%22Aesop's%20Fables%22&pg=PA75#v=onepage&q=%22Aesop's%20Fables%22&f=false)

42.

^ Versions of The Ant and theGrasshopper and The Fox andthe Grapes are available atSadipac.com(http://www.sadipac.com/templates/sadipac.php?id_page=242)

43.

^ The entire text with theFrench originals is available asan e-book at Archive.org(http://www.archive.org/details/quelquesfablesc00fontgoog)

44.

^ The sources for this arediscussed atlapurdum.revues.org(http://lapurdum.revues.org/index916.html?file=1)

45.

^ His version of The Ant andthe Grasshopper is available atNimausensis.com(http://www.nimausensis.com/Patois/LaFontaine1.htm)

46.

^ The 1859 Paris edition of thiswith facing French translationsis available onbooks.google.co.uk(http://books.google.co.uk/books?id=U785AAAAcAAJ&printsec=frontcover&dq=%22henri+BURGAUD+des+MARETS%22&source=bl&ots=r8d9ZL98W0&sig=zRRh4bUCJgFOJTQp7NsbqxuJaRs&hl=en&ei=aXwLTKLaKJLw0gT_o8hq&sa=X&oi=book_result&ct=result&resnum=4&ved=0CCkQ6AEwAw#v=onepage&q&f=false)

47.

^ His chapbook of ten fables,Feu de Brandes (Bonfire,Challans, 1950) is available onthe dialect site Free.fr(http://parlange.free.fr/pages/feu_de_brande.html)

48.

^ A performance of Brisard'sLa grolle et le renard isavailable at SHC44.org(http://www.shc44.org/La-grolle-et-le-renard#forum602)

49.

^ A reading of two of these canbe found on YouTube: The antand grasshopper(http://www.youtube.com/watch?v=YKxUpVbS1pU) andThe crow and the fox(http://www.youtube.com/watch?v=YKxUpVbS1pU&feature=related)

50.

^ Anthologie de la littératurewallonne (ed. Maurice Piron),Liège, 1979; limited preview atGoogle Books Google Books(http://books.google.co.uk/books?id=zhpx-DbBkBkC&pg=PR9&lpg=PR9&dq=anthologie+de+la+litterature+wallonne&source=bl&ots=ZqnjqFmhYP&sig=jIj9KaM_5R8iPQfiuIf6NhKhSwA&hl=en&ei=dOv4S-faNIn80wS2-5jqBw&sa=X&oi=book_result&ct=result&resnum=5&ved=0CC0Q6AEwBA#v=onepage&q=anthologie%20de%20la%20litterature%20wallonne&f=false)

51.

^ There is a partial preview atGoogle Books(http://books.google.fr/books?id=pscTAAAAQAAJ&printsec=titlepage#v=onepage&q&f=false)

52.

^ The text of four can be foundat Walon.org(http://rifondou.walon.org/bernus-rif.html)

53.

^ "Lulucom.com"(http://www.lulucom.com/fables00.htm#intro).Lulucom.com. Retrieved2012-03-22.

54.

^ "Available online"(http://www.arts.gla.ac.uk/STELLA/STARN/poetry/HENRYSON/fables/contents.htm). Arts.gla.ac.uk.Retrieved 2012-03-22.

55.

^ The complete text is atBNF.fr (http://gallica.bnf.fr/ark:/12148/bpt6k54261407)

56.


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^ Examples of all these can befound in Marie-ChristineHazaël-Massieux: Textesanciens en créole français de laCaraïbe, Paris, 2008, pp259-72.Partial preview at GoogleBooks(http://books.google.co.uk/books?id=nWI7ct3uJlsC&pg=PA259&lpg=PA259&dq=Marbot++++bambous&source=bl&ots=XUnLKaLT1c&sig=wJxaWGAk6VElgztIuxLpbP5ZDqU&hl=en&ei=HXAGTOX0FIuI0wTRvoytDA&sa=X&oi=book_result&ct=result&resnum=2&ved=0CBgQ6AEwAQ#v=onepage&q=Marbot%20%20%20%20bambous&f=false)

57.

^ Available on pp.50-82 atArchive.org(http://www.archive.org/stream/IntroductionHistoireDeCayenne/creole_cayenne#page/n117/mode/2up/search/fable)

58.

^ They are available on GoogleBooks(http://books.google.co.uk/books?id=zgYGhRqBlTgC&pg=PA23&lpg=PA23&dq=jules+choppin&source=bl&ots=FpDMjVj-lb&sig=au85_S0rxTOUFdD5iDSHhhYnSmo&hl=en&ei=XYIsTNbeA5DesAbn9vSnAg&sa=X&oi=book_result&ct=result&resnum=1&ved=0CBUQ6AEwAA#v=onepage&q=jules%20choppin&f=false)

59.

^ "Centenary.edu"(http://www.centenary.edu/editions/choppin_en.htm).Centenary.edu. Retrieved2012-03-22.

60.

^ Creole echoes, pp 88-9(http://books.google.co.uk/books?id=zgYGhRqBlTgC&dq=jules+choppin&q=Le+loup+et+la+cigogne#v=snippet&q=Le%20loup%20et%20la%20cigogne&f=false); ÉcritsLouisianais du 19e siècle,Louisiana State University1979, pp.213-5(http://lit.alexanderstreet.com/v4/services/get.pdf.aspx?id=1000165157)

61.

^ Georges GAUVIN."Temoignages.re"(http://www.temoignages.re/il-etait-une-fois-louis-hery,31495.html).Temoignages.re. Retrieved2012-03-22.

62.

^ Fables de La Fontainetraduites en créole seychellois,Hamburg, 1983; limited previewat Google Books(http://books.google.co.uk/books?id=sM-5aGQHv2UC&printsec=frontcover&dq=rodolphine+young&source=bl&ots=AwfXgePKos&sig=2zUKu6jMVkb4q2A9Jl5HylNCxDQ&hl=en&ei=VGcHTLfFIpaI0wThv8hl&sa=X&oi=book_result&ct=result&resnum=3&ved=0CB4Q6AEwAg#v=onepage&q&f=false); there is also aselection at Potomitan.info(http://www.potomitan.info/atelier/contes)

63.

^ "Potomitan.info"(http://www.potomitan.info/bibliographie/babrius.php).Potomitan.info. Retrieved2012-03-22.

64.

^ "His ''Aesop. Fables'' (1692)is available online"(http://mythfolklore.net/aesopica/lestrange/index.htm).Mythfolklore.net. Retrieved2012-03-22.

65.

^ A bibliography is available onthe Langue Française site(http://www.languefrancaise.net/?n=Accueil.Accueil&action=search&q=la+fontaine)

66.

^ "Three fables are available onYouTube"(http://www.youtube.com/watch?v=T3AT57prk-c).Youtube.com. 2010-11-13.Retrieved 2012-03-22.

67.

^ "A bibliography of his work"(http://pleade.bm-lyon.fr/sdx/pl/doc-tdm.xsp?id=FR693836101_0102DR_d0e16451&fmt=tab&base=fa). Pleade.bm-lyon.fr.Retrieved 2012-03-22.

68.

^ See the list atmythfolklore.net(http://mythfolklore.net/aesopica/perry/index.htm)

69.

^ "Paragraph 156"(http://www.bartleby.com/37/1/16.html). Bartleby.com.Retrieved 2012-03-22.

70.

^ The 1753 London reprint ofthis and Faerno's original Latinis available online(http://books.google.com/books?id=wlATAAAAQAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false)

71.

^ John Metz, The Fables of LaFontaine, a critical edition ofthe 18th century settings, NewYork 1986, pp.3-10; availableon Google Books(http://books.google.co.uk/books?id=vVHRlG34Ub4C&pg=PA3&lpg=PA3&dq=Louis-Nicolas+Cl%C3%A9rambault++Fables+de+la+fontaine&source=bl&ots=EvNKcajVDr&sig=w425tjQ8hB5DqTHcBHvhf1cjqeU&hl=en&ei=PIJ9Ta7CDcjDhAf1oKXvBg&sa=X&oi=book_result&ct=result&resnum=8&ved=0CE4Q6AEwBzgK#v=onepage&q&f=false)

72.


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^ The 1835 edition is availableon Google Books(http://books.google.co.uk/books?id=LsMqAAAAYAAJ&printsec=frontcover&dq=%22samuel+croxall%22++aesop%27s+fables&source=bl&ots=vdI5fTXc0X&sig=bcYRz8-Qy9lIe426x124WQnVt6Y&hl=en&ei=RRVlTPu-CsXo4gb046m5Cg&sa=X&oi=book_result&ct=result&resnum=8&ved=0CDMQ6AEwBw#v=onepage&q&f=false).Books.google.co.uk. Retrieved2012-03-22.

73.

^ There is a description of the5th edition, now in the DouceCollection at OxfordUniversity’s Bodleian Library,online(http://www.rarebookroom.org/pdfDescriptions/heafab.pdf)

74.

^ See the introductory "AnEssay on Fable"p.lxx(http://books.google.co.uk/books?id=ZUwPAAAAIAAJ&printsec=frontcover&dq=robert+dodsley+esop&source=bl&ots=kAaGtqkndO&sig=z1K3zPv-ybsUwjOzyYqrYFmMA5o&hl=en&ei=y0WTTePNOs3r4AbR3JSWAg&sa=X&oi=book_result&ct=result&resnum=1&sqi=2&ved=0CBYQ6AEwAA#v=onepage&q=pomp%20of%20phrase&f=false)

75.

^ The 1820 edition of this isavailable on Google Books(http://books.google.co.uk/books?id=mkoJAAAAQAAJ&printsec=frontcover&dq=inauthor:%22Thomas+Bewick%22&hl=en&ei=qCJlTN7cL4WV4Abvlbj4Cg&sa=X&oi=book_result&ct=result&resnum=4&ved=0CEAQ6AEwAzgK#v=onepage&q&f=false).Books.google.co.uk. Retrieved2012-03-22.

76.

^ "Google Books"(http://www.archive.org/stream/bewicksselectfab00aesouoft#page/n3/mode/2up). Archive.org.Retrieved 2012-03-22.

77.

^ "The 1820 3rd edition"(http://www.archive.org/details/oldfriendsinnewd00shariala).Archive.org. Retrieved2012-03-22.

78.

^ See the preface on page 4(http://www.archive.org/stream/oldfriendsinnewd00shariala#page/n3/mode/2up)

79.

^ "Children's Libraryreproduction"(http://www.childrenslibrary.org/icdl/BookReader?bookid=crababy_00150086&twoPage=false&route=text&size=0&fullscreen=false&pnum1=1&lang=English&ilang=English).Childrenslibrary.org. Retrieved2012-03-22.

80.

^ Google Books(http://books.google.co.uk/books?id=tlhMAAAAYAAJ&printsec=frontcover&dq=aesop%27s+fables+tenniel&source=bl&ots=nIKqcYEkWf&sig=B3RSOEeVhEU50YYJuQfIl9mgsvg&hl=en&ei=xCdlTN_wJ5Do4AaPz_m0Cg&sa=X&oi=book_result&ct=result&resnum=1&ved=0CBUQ6AEwAA#v=onepage&q&f=false).Books.google.co.uk. Retrieved2012-03-22.

81.

^ "Mythfolklore.net"(http://mythfolklore.net/aesopica/aesop1884/index.htm).Mythfolklore.net. Retrieved2012-03-22.

82.

^ Holeybooks.org(http://www.holyebooks.org/authors/aesops/fables/aesops_fables.html)

83.

^ "Mainlesson.com"(http://www.mainlesson.com/display.php?author=winter&book=aesop&story=_contents).Mainlesson.com. Retrieved2012-03-22.

84.

^ "The Victoria & AlbertMuseum has many examples"(http://collections.vam.ac.uk/search/?offset=0&limit=45&narrow=0&q=aesop%27s+fables&commit=Search&quality=0&objectnamesearch=&placesearch=&after=&after-adbc=AD&before=&before-adbc=AD&namesearch=&materialsearch=&mnsearch=&locationsearch).Collections.vam.ac.uk.2009-08-25. Retrieved2012-03-22.

85.

^ "Creighton.edu"(http://www.creighton.edu/aesop/artifacts/tiles/mintonsbluetiles/index.php). Creighton.edu.Retrieved 2012-03-22.

86.

^ See several examples atcreighton.edu(http://www.creighton.edu/aesop/artifacts/tableware/specifickindsoftableware/plates/epinaldepellerin/index.php)

87.

^ Honoré Champion, RépertoireChronologique des Spectacles àParis, 1680–1715, (2002);georgetown.edu(http://www9.georgetown.edu/faculty/spielmag/finderegne/repertoire2.htm#top)

88.

^ The text is available onbooks.google.co.uk(http://books.google.co.uk/books?id=CmQ8AAAAcAAJ&printsec=frontcover&dq=%22les+fables+d%27Esope%22++boursault&source=bl&ots=IeGmOInEOL&sig=C88oOKzoXRiZQWPSkOud3E-zVB4&hl=en&ei=qlCXTfuuN4iGhQfl2fTkCA&sa=X&oi=book_result&ct=result&resnum=10&ved=0CFUQ6AEwCQ#v=onepage&q&f=false)

89.


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^ The text is available onbooks.google.co.uk(http://books.google.co.uk/books?id=rm0_DWd5jPoC&printsec=frontcover&dq=%22Boursault%22++Esope&source=bl&ots=4AwpHQxgVy&sig=5q1A7sZbyPPsgB-0L1G9WFh6XSg&hl=en&ei=zFyXTebaNcGHhQf4m7WCCQ&sa=X&oi=book_result&ct=result&resnum=6&ved=0CDQQ6AEwBTgK#v=onepage&q&f=false)

90.

^ H.C. Lancaster, A history ofFrench Dramatic Literature inthe 17th Century, ch.XI,pp.185-8; The chapter isavailable online(http://library.du.ac.in/dspace/bitstream/1/930/12/Ch.11%20Boursault%20baron%20bryers%20and%20campisteon.pdf)

91.

^ Giovanni Saverio Santangelo,Claudio Vinti, Le traduzioniitaliane del teatro comicofrancese dei secoli XVII eXVIII, Rome 1981, p.97,available on books.google.co.uk(http://books.google.co.uk/books?id=G6af7qli7XcC&pg=PA97&lpg=PA97&dq=Gasparo+Gozzi:+Esopo+alla+Corte+%281747%29&source=bl&ots=rCsBkc0R2S&sig=sib4rtnEaapOf215wcpTcSaTO0Y&hl=en&ei=NqCYTbLsKImqhAeM6vHhCA&sa=X&oi=book_result&ct=result&resnum=1&sqi=2&ved=0CBYQ6AEwAA#v=onepage&q=Gasparo%20Gozzi%3A%20Esopo%20alla%20Corte%20%281747%29&f=false)

92.

^ "The play is archived online"(http://www.archive.org/stream/playsvanbrugh01vanbuoft#page/216/mode/2up). Archive.org.Retrieved 2012-03-22.

93.

^ The 24-minute feature isdivided into three parts onYouTube(http://www.youtube.com/watch?v=jON9jB6KPws)

94.

^ Le corbeau et le renard isavailable on YouTube(http://www.youtube.com/watch?v=pUu7fqvCImw)

95.

^ imdb.com(http://www.imdb.com/title/tt0202463)

96.

^ 00:00/00:00 (2010-01-22)."Aesop's Theater"(http://v.youku.com/v_show/id_XMTMwODY4MDYw.html). V.youku.com. Retrieved2012-03-22.

97.

^ Susan Stone-Blackburn,Robertson Davies, playwright,University of British Columbia1985, pp. 92-6(http://books.google.co.uk/books?id=2wSfrq9cM_QC&lpg=PA93&dq=%22Aesop%20at%20%22&pg=PA92#v=onepage&q=Masque&f=false)

98.

^ Bershire Ballet site(http://www.berkshireballet.org/bbpnotes.html#Aesop)

99.

^ The Nashville Scene(http://www.nashvillescene.com/nashville/aesops-fables/Event?oid=2748296)

100.

^ "Playwrights and Their StageWorks: Peter Terson"(http://www.4-wall.com/authors/authors_t/terson_peter.htm).4-wall.com. 1932-02-24.Retrieved 2012-03-22.

101.

^ whatsonsa.co.za(http://whatsonsa.co.za/news/index.php/whats-on/in-cape-town/17-theatre/653-aesops-fables-at-the-fugard-10-june-10-july-2010.html)

102.

^ There is a brief excerpt onYouTube(http://www.youtube.com/watch?v=VoTfCFCCBmY)

103.

^ Playlist(http://www.doollee.com/PlaywrightsS/seward-brian.html); short promotionalexcerpts are available onYouTube(http://www.youtube.com/watch?v=8W9yIK36iU0)

104.

^ Joachim Draheim,Vertonungen antiker Texte vomBarock bis zur Gegenwart,Amsterdam 1981, Bibliography,p. 111 (http://books.google.com/books?id=axS10XF46tsC&pg=PA111&dq=%22the+satyr+and+the+traveller%22&hl=en&ei=eKPuTZnzBsea8QPI_cyPBw&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCgQ6AEwADhu#v=onepage&q=%22the%20satyr%20and%20the%20traveller%22&f=false)

105.

^ The score can be downloadedhere(https://urresearch.rochester.edu/institutionalPublicationPublicView.action;jsessionid=30700D0F9F7E51EB09864FD05D437FB8?institutionalItemId=20901)

106.

^ There is a performance onYouTube(http://www.youtube.com/watch?v=n97AMizsHrs)

107.

^ Jason Scott Ladd, AnAnnotated Bibliography ofContemporary Works, FloridaState Uni 2009 p.113(http://etd.lib.fsu.edu/theses/available/etd-07132009-101243/unrestricted/Ladd_J_Dissertation_2009r.pdf)

108.

^ There is a performance online(http://www.alfred-music.com/player/ConcertBandMusic05-063/23314/player.html)

109.

^ The composer's website(http://www.davidedgarwalther.com/operatic-drama.html)

110.


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^ Joachim Draheim, p.10(http://books.google.co.uk/books?id=axS10XF46tsC&lpg=PA111&dq=%22the%20satyr%20and%20the%20traveller%22&pg=PA10#v=onepage&

111. q=maus&f=false)^ The piano score is availableonline (http://www.notenpost.de/out/media/Musterseiten-eres_20371_Hans-Poser-Die-Fabeln-des-Aesop.pdf)

112.^ There is a YouTube versionof four fables; the whole work isnow available on CD under thetitle "Oh Raven, If You OnlyHad Brains!...songs for Aesop'sFables"

113.

Further reading

Anthony, Mayvis, 2006. The Legendary Life and Fables of Aesop."Caxton, William, 1484. The history and fables of Aesop, Westminster. Modern reprint edited by Robert T.Lenaghan (Harvard University Press: Cambridge, 1967)Clayton, Edward. "Aesop, Aristotle, and Animals: The Role of Fables in Human Life"(http://www.nhinet.org/clayton21-1.pdf). Humanitas, Volume XXI, Nos. 1 and 2, 2008, pp. 179–200.Bowie, Maryland: National Humanities Institute.Gibbs, Laura (translator), 2002, reissued 2008. Aesop's Fables. Oxford University PressGibbs, Laura, "Aesop Illustrations: Telling the Story in Images" (http://journeytothesea.com/aesop-illustrations/)Rev.Thomas James M.A., Aesop's Fables: A New Version, Chiefly from Original Sources(http://books.google.com/books?id=rUbRa8jtSz8C), 1848. John Murray. (includes many pictures by JohnTenniel)Perry, Ben Edwin (editor), 1952, 2nd edition 2007. Aesopica: A Series of Texts Relating to Aesop orAscribed to Him. Urbana: University of Illinois PressPerry, Ben E. (editor), 1965. Babrius and Phaedrus, (Loeb Classical Library) Cambridge: HarvardUniversity Press, 1965. English translations of 143 Greek verse fables by Babrius, 126 Latin verse fablesby Phaedrus, 328 Greek fables not extant in Babrius, and 128 Latin fables not extant in Phaedrus(including some medieval materials) for a total of 725 fablesTemple, Olivia; Temple, Robert (translators), 1998. Aesop, The Complete Fables, New York: PenguinClassics. (ISBN 0-14-044649-4)

External links

Listen to "Three Hundred Aesop's Fables" (http://archive.org/details/300aesopsfables_ma_librivox)translated by George Fyler Townsend. Free Audiobook at The Internet ArchiveAesop's fables (http://www.aesops-fables.com/) : all Aesop fables online.Aesopica (http://www.mythfolklore.net/aesopica/index.htm): Over 600 English fables, plus Caxton'sAesop, Latin and Greek texts, Content Index, and Site Search.Children's Library, a site with many reproductions of illustrated English editions of Aesop(http://www.childrenslibrary.org/icdl/BookPreview?bookid=crababy_00150086&tab=creator662&route=text&lang=English&msg=&ilang=English#creator662)Carlson Fable Collection at Creighton University (http://www.creighton.edu/aesop/) Includes onlinecatalogue of fable-related objects

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