Aesop’s Fables

CONTENTS

Cover

Title Page

Preface

The Wolf and the Lamb

The Bat and the Weasels

The Ass and the Grasshopper

The Lion and the Mouse

The Charcoal-burner and the Fuller

The Father and his Sons

The Boy Hunting Locusts

The Cock and the Jewel

The Kingdom of the Lion

The Wolf and the Crane

The Fisherman Piping

Hercules and the Wagoner

The Ants and the Grasshopper

The Traveler and his Dog

The Dog and the Shadow

The Mole and his Mother

The Herdsman and the Lost Bull

The Hare and the Tortoise

The Pomegranate, Apple-tree, and Bramble

The Farmer and the Stork

The Farmer and the Snake

The Fawn and his Mother

The Bear and the Fox

The Swallow and the Crow

The Mountain in Labor

The Ass, the Fox, and the Lion

The Tortoise and the Eagle

The Flies and the Honey-Pot

The Man and the Lion

The Farmer and the Cranes

The Dog in the Manger

The Fox and the Goat

The Bear and the Two Travelers

The Oxen and the Axle-trees

The Thirsty Pigeon

The Raven and the Swan

The Goat and the Goatherd

The Miser

The Sick Lion

The Horse and Groom

The Ass and the Lapdog

The Lioness

The Boasting Traveler

The Cat and the Cock

The Piglet, the Sheep, and the Goat

The Boy and the Filberts

The Lion in Love

The Laborer and the Snake

The Wolf in Sheep’s Clothing

The Ass and the Mule

The Frogs Asking for a King

The Boys and the Frogs

The Sick Stag

The Salt Merchant and his Ass

The Oxen and the Butchers

The Lion, the Mouse, and the Fox

The Vain Jackdaw

The Goatherd and the Wild Goats

Old Friends Cannot with Impunity be Sacrificed

The Mischievous Dog

The Fox Who Had Lost his Tail

The Boy and the Nettles

The Man and his two Sweethearts

The Astronomer

The Wolves and the Sheep

The Old Woman and the Physician

The Fighting Cocks and the Eagle

The Charger and the Miller

The Fox and the Monkey

The Horse and his Rider

The Belly and the Members

The Vine and the Goat

Jupiter and the Monkey

The Widow and her Little Maidens

The Shepherd’s Boy and the Wolf

The Cat and the Birds

The Kid and the Wolf

The Ox and the Frog

The Shepherd and the Wolf

The Father and his Two Daughters

The Farmer and his Sons

The Crab and its Mother

The Heifer and the Ox

The Swallow, the Serpent, and the Court of Justice

The Thief and his Mother

The Old Man and Death

The Fir-Tree and the Bramble

The Mouse, the Frog, and the Hawk

The Man Bitten by a Dog

The Two Pots

The Wolf and the Sheep

The Aethiop

The Fisherman and His Nets

The Huntsman and the Fisherman

The Old Woman and the Wine-jar

The Fox and the Crow

The Two Dogs

The Stag in the Ox-stall

The Hawk, the Kite, and the Pigeons

The Widow and the Sheep

The Wild Ass and the Lion

The Eagle and the Arrow

The Sick Kite

The Lion and the Dolphin

The Lion and the Boar

The One-eyed Doe

The Shepherd and the Sea

The Ass, the Cock, and the Lion

The Mice and the Weasels

The Mice in Council

The Wolf and the Housedog

The Rivers and the Sea

The Playful Ass

The Three Tradesmen

The Master and his Dogs

The Wolf and the Shepherds

The Dolphins, the Whales, and the Sprat

The Ass Carrying the Image

The Two Travelers and the Axe

The Old Lion

The Old Hound

The Bee and Jupiter

The Milk-woman and her Pail

The Seaside Travelers

The Brazier and his Dog

The Ass and his Shadow

The Ass and his Masters

The Oak and the Reeds

The Fisherman and the Little Fish

The Hunter and the Woodman

The Wild Boar and the Fox

The Lion in a Farmyard

Mercury and the Sculptor

The Swan and the Goose

The Swollen Fox

The Fox and the Woodcutter

The Birdcatcher, the Partridge, and the Cock

The Monkey and the Fishermen

The Flea and the Wrestler

The Two Frogs

The Cat and the Mice

The Lion, the Bear, and the Fox

The Doe and the Lion

The Farmer and the Fox

The Seagull and the Kite

The Philosopher, the Ants, and Mercury

The Mouse and the Bull

The Lion and the Hare

The Peasant and the Eagle

The Image of Mercury and the Carpenter

The Bull and the Goat

The Dancing Monkeys

The Fox and the Leopard

The Monkeys and their Mother

The Oaks and Jupiter

The Hare and the Hound

The Traveler and Fortune

The Bald Knight

The Shepherd and the Dog

The Lamp

The Lion, the Fox, and the Ass

The Bull, the Lioness, and the Wild-boar Hunter

The Oak and the Woodcutters

The Hen and the Golden Eggs

The Ass and the Frogs

Men Often Bear Little Grievances Better Than Large

The Crow and the Raven

The Trees and the Axe

The Crab and the Fox

The Woman and her Hen

The Ass and the Old Shepherd

The Kites and the Swans

The Wolves and the Sheepdogs

The Hares and the Foxes

The Bowman and Lion

The Camel

The Wasp and the Snake

The Dog and the Hare

The Bull and the Calf

The Stag, the Wolf, and the Sheep

The Peacock and the Crane

The Fox and the Hedgehog

The Eagle, the Cat, and the Wild Sow

The Thief and the Innkeeper

The Mule

The Hart and the Vine

The Serpent and the Eagle

The Crow and the Pitcher

The Two Frogs

The Wolf and the Fox

The Walnut-tree

The Gnat and the Lion

The Monkey and the Dolphin

The Jackdaw and the Doves

The Horse and the Stag

The Kid and the Wolf

The Prophet

The Fox and the Monkey

The Thief and the Housedog

The Man, the Horse, the Ox, and the Dog

The Apes and the Two Travelers

The Wolf and the Shepherd

The Hares and the Lions

The Lark and Her Young Ones

The Fox and the Lion

The Weasel and the Mice

The Boy Bathing

The Ass and the Wolf

The Seller of Images

The Fox and the Grapes

The Man and his Wife

The Peacock and Juno

The Hawk and the Nightingale

The Dog, the Cock, and the Fox

The Wolf and the Goat

The Lion and the Bull

The Goat and the Ass

The Town Mouse and the Country Mouse

The Wolf, the Fox, and the Ape

The Fly and the Draught-Mule

The Fishermen

The Lion and the Three Bulls

The Fowler and the Viper

The Horse and the Ass

The Fox and the Mask

The Geese and the Cranes

The Blind Man and the Whelp

The Dogs and the Fox

The Cobbler Turned Doctor

The Wolf and the Horse

The Brother and the Sister

The Wasps, the Partridges, and the Farmer

The Crow and Mercury

The North Wind and the Sun

The Two Men Who Were Enemies

The Gamecocks and the Partridge

The Quack Frog

The Lion, the Wolf, and the Fox

The Dog’s House

The Wolf and the Lion

The Birds, the Beasts, and the Bat

The Spendthrift and the Swallow

The Fox and the Lion

The Owl and the Birds

The Trumpeter Taken Prisoner

The Ass in the Lion’s Skin

The Sparrow and the Hare

The Flea and the Ox

The Goods and the Ills

The Dove and the Crow

Mercury and the Workmen

The Eagle and the Jackdaw

The Fox and the Crane

Jupiter, Neptune, Minerva, and Momus

The Eagle and the Fox

The Man and the Satyr

The Ass and his Purchaser

The Two Bags

The Stag at the Pool

The Jackdaw and the Fox

The Lark Burying her Father

The Gnat and the Bull

The Bitch and her Whelps

The Dogs and the Hides

The Shepherd and the Sheep

The Grasshopper and the Owl

The Monkey and the Camel

The Peasant and the Apple-tree

The Two Soldiers and the Robber

The Trees Under the Protection of the Gods

The Mother and the Wolf

The Ass and the Horse

Truth and the Traveler

The Manslayer

The Lion and the Fox

The Lion and the Eagle

The Hen and the Swallow

The Buffoon and the Countryman

The Crow and the Serpent

The Hunter and the Horseman

The King’s Son and the Painted Lion

The Cat And Venus

The She-goats and their Beards

The Camel and the Arab

The Miller, his son, and their Ass

The Crow and the Sheep

The Fox and the Bramble

The Wolf and the Lion

The Dog and the Oyster

The Ant and the Dove

The Partridge and the Fowler

The Flea and the Man

The Thieves and the Cock

The Dog and the Cook

The Travelers and the Plane-tree

The Hares and the Frogs

The Lion, Jupiter, and the Elephant

The Lamb and the Wolf

The Rich Man and the Tanner

The Shipwrecked Man and the Sea

The Mules and the Robbers

The Viper and the File

The Lion and the Shepherd

The Camel and Jupiter

The Panther and the Shepherds

The Ass and the Charger

The Eagle and his Captor

The Bald Man and the Fly

The Olive-tree and the Fig-tree

The Eagle and the Kite

The Ass and his Driver

The Thrush and the Fowler

The Rose and the Amaranth

The Frogs’ Complaint Against the Sun

Classic Literature: Words and Phrases Adapted from the Collins English Dictionary

About the Author

History of Collins

Copyright

About the Publisher

PREFACE

The Tale, the Parable, and the Fable are all common and popular modes of conveying instruction. Each is distinguished by its own special characteristics. The Tale consists simply in the narration of a story either founded on facts, or created solely by the imagination, and not necessarily associated with the teaching of any moral lesson. The Parable is the designed use of language purposely intended to convey a hidden and secret meaning other than that contained in the words themselves; and which may or may not bear a special reference to the hearer, or reader. The Fable partly agrees with, and partly differs from both of these. It will contain, like the Tale, a short but real narrative; it will seek, like the Parable, to convey a hidden meaning, and that not so much by the use of language, as by the skilful introduction of fictitious characters; and yet unlike to either Tale or Parable, it will ever keep in view, as its high prerogative, and inseparable attribute, the great purpose of instruction, and will necessarily seek to inculcate some moral maxim, social duty, or political truth. The true Fable, if it rises to its high requirements, ever aims at one great end and purpose representation of human motive, and the improvement of human conduct, and yet it so conceals its design under the disguise of fictitious characters, by clothing with speech the animals of the field, the birds of the air, the trees of the wood, or the beasts of the forest, that the reader shall receive advice without perceiving the presence of the adviser. Thus the superiority of the counsellor, which often renders counsel unpalatable, is kept out of view, and the lesson comes with the greater acceptance when the reader is led, unconsciously to himself, to have his sympathies enlisted on behalf of what is pure, honorable, and praiseworthy, and to have his indignation excited against what is low, ignoble, and unworthy. The true fabulist, therefore, discharges a most important function. He is neither a narrator, nor an allegorist. He is a great teacher, a corrector of morals, a censor of vice, and a commender of virtue. In this consists the superiority of the Fable over the Tale or the Parable. The fabulist is to create a laugh, but yet, under a merry guise, to convey instruction. Phaedrus, the great imitator of Aesop, plainly indicates this double purpose to be the true office of the writer of fables.

Duplex libelli dos est: quod risum movet,

Et quod prudenti vitam consilio monet.

The continual observance of this twofold aim creates the charm, and accounts for the universal favor, of the fables of Aesop. “The fable”, says Professor K. O. Mueller, “originated in Greece in an intentional travestie of human affairs. The ‘ainos’, as its name denotes, is an admonition, or rather a reproof veiled, either from fear of an excess of frankness, or from a love of fun and jest, beneath the fiction of an occurrence happening among beasts; and wherever we have any ancient and authentic account of the Aesopian fables, we find it to be the same.”

The construction of a fable involves a minute attention to (1) the narration itself; (2) the deduction of the moral; and (3) a careful maintenance of the individual characteristics of the fictitious personages introduced into it. The narration should relate to one simple action, consistent with itself, and neither be overladen with a multiplicity of details, nor distracted by a variety of circumstances. The moral or lesson should be so plain, and so intimately interwoven with, and so necessarily dependent on, the narration, that every reader should be compelled to give to it the same undeniable interpretation. The introduction of the animals or fictitious characters should be marked with an unexceptionable care and attention to their natural attributes, and to the qualities attributed to them by universal popular consent. The Fox should be always cunning, the Hare timid, the Lion bold, the Wolf cruel, the Bull strong, the Horse proud, and the Ass patient. Many of these fables are characterized by the strictest observance of these rules. They are occupied with one short narrative, from which the moral naturally flows, and with which it is intimately associated. “‘Tis the simple manner,” says Dodsley, “in which the morals of Aesop are interwoven with his fables that distinguishes him, and gives him the preference over all other mythologists. His ‘Mountain delivered of a Mouse’, produces the moral of his fable in ridicule of pompous pretenders; and his Crow, when she drops her cheese, lets fall, as it were by accident, the strongest admonition against the power of flattery. There is no need of a separate sentence to explain it; no possibility of impressing it deeper, by that load we too often see of accumulated reflections.” An equal amount of praise is due for the consistency with which the characters of the animals, fictitiously introduced, are marked. While they are made to depict the motives and passions of men, they retain, in an eminent degree, their own special features of craft or counsel, of cowardice or courage, of generosity or rapacity.

These terms of praise, it must be confessed, cannot be bestowed on all the fables in this collection. Many of them lack that unity of design, that close connection of the moral with the narrative, that wise choice in the introduction of the animals, which constitute the charm and excellency of true Aesopian fable. This inferiority of some to others is sufficiently accounted for in the history of the origin and descent of these fables. The great bulk of them are not the immediate work of Aesop. Many are obtained from ancient authors prior to the time in which he lived. Thus, the fable of the “Hawk and the Nightingale” is related by Hesiod; the “Eagle wounded by an Arrow, winged with its own Feathers”, by Aeschylus; the “Fox avenging his wrongs on the Eagle”, by Archilochus. Many of them again are of later origin, and are to be traced to the monks of the middle ages: and yet this collection, though thus made up of fables both earlier and later than the era of Aesop, rightfully bears his name, because he composed so large a number (all framed in the same mould, and conformed to the same fashion, and stamped with the same lineaments, image, and superscription) as to secure to himself the right to be considered the father of Greek fables, and the founder of this class of writing, which has ever since borne his name, and has secured for him, through all succeeding ages, the position of the first of moralists.

The fables were in the first instance only narrated by Aesop, and for a long time were handed down by the uncertain channel of oral tradition. Socrates is mentioned by Plato as having employed his time while in prison, awaiting the return of the sacred ship from Delphos which was to be the signal of his death, in turning some of these fables into verse, but he thus versified only such as he remembered. Demetrius Phalereus, a philosopher at Athens about 300 B.C., is said to have made the first collection of these fables. Phaedrus, a slave by birth or by subsequent misfortunes, and admitted by Augustus to the honors of a freedman, imitated many of these fables in Latin iambics about the commencement of the Christian era. Aphthonius, a rhetorician of Antioch, A.D. 315, wrote a treatise on, and converted into Latin prose, some of these fables. This translation is the more worthy of notice, as it illustrates a custom of common use, both in these and in later times. The rhetoricians and philosophers were accustomed to give the Fables of Aesop as an exercise to their scholars, not only inviting them to discuss the moral of the tale, but also to practice and to perfect themselves thereby in style and rules of grammar, by making for themselves new and various versions of the fables. Ausonius, the friend of the Emperor Valentinian, and the latest poet of eminence in the Western Empire, has handed down some of these fables in verse, which Julianus Titianus, a contemporary writer of no great name, translated into prose. Avienus, also a contemporary of Ausonius, put some of these fables into Latin elegiacs, which are given by Nevelet (in a book we shall refer to hereafter), and are occasionally incorporated with the editions of Phaedrus.

Seven centuries elapsed before the next notice is found of the Fables of Aesop. During this long period these fables seem to have suffered an eclipse, to have disappeared and to have been forgotten; and it is at the commencement of the fourteenth century, when the Byzantine emperors were the great patrons of learning, and amidst the splendors of an Asiatic court, that we next find honors paid to the name and memory of Aesop. Maximus Planudes, a learned monk of Constantinople, made a collection of about a hundred and fifty of these fables. Little is known of his history. Planudes, however, was no mere recluse, shut up in his monastery. He took an active part in public affairs. In 1327 A.D. he was sent on a diplomatic mission to Venice by the Emperor Andronicus the Elder. This brought him into immediate contact with the Western Patriarch, whose interests he henceforth advocated with so much zeal as to bring on him suspicion and persecution from the rulers of the Eastern Church. Planudes has been exposed to a two-fold accusation. He is charged on the one hand with having had before him a copy of Babrias (to whom we shall have occasion to refer at greater length in the end of this Preface), and to have had the bad taste “to transpose”, or to turn his poetical version into prose: and he is asserted, on the other hand, never to have seen the Fables of Aesop at all, but to have himself invented and made the fables which he palmed off under the name of the famous Greek fabulist. The truth lies between these two extremes. Planudes may have invented some few fables, or have inserted some that were current in his day; but there is an abundance of unanswerable internal evidence to prove that he had an acquaintance with the veritable fables of Aesop, although the versions he had access to were probably corrupt, as contained in the various translations and disquisitional exercises of the rhetoricians and philosophers. His collection is interesting and important, not only as the parent source or foundation of the earlier printed versions of Aesop, but as the direct channel of attracting to these fables the attention of the learned.