See also:

• APOLOGUE (from the Gr. &rroXoyos, a statement or account)

APOLOGUE (from the Gr. &rroXoyos, a statement or See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account)  , a See also:

• SHORT, FRANCIS JOB (1857– )

short See also:

• FABLE (Fr. fable, Lat. fabula)

fable or allegorical See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story, meant to serve as a pleasant vehicle for some moral See also:

• DOCTRINE

doctrine or to convey some useful See also:

• LESSON (through Fr. lecon from Lat. lectio, reading; legere, to read)

lesson . One of the best known is that of Jotham in the See also:

• BOOK

Book of See also:

• JUDGES, THE BOOK OF

Judges (ix . 7-15) ; others are " The See also:

• CITY (through Fr. cite, from Lat. civitas)

City See also:

• RAT (a word common to Teut. and Rom. languages; probably first adopted in Teut.; the ultimate origin is not known; Skeat suggests the root rad-, to scratch; cf. Ger. Ratte, Dan. rotte, Fr. rat, &c.)

Rat and See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

Field Rat," by See also:

• HORACE [QuINTus HORATIUS FLACCUS] (65-8 B.C.)

Horace, " The Belly and its Members," by the patrician Menenius See also:

• AGRIPPA
• AGRIPPA, HEROD, I
• AGRIPPA, HEROD, II
• AGRIPPA, MARCUS VIPSANIUS

Agrippa in the second book of See also:

• LIVY [Thus L1v1us] (59 B.C.—A.D: 17)

Livy, and perhaps most famous of all, those of See also:

• AESOP (Gr. Aivwvros)

Aesop . The See also:

• TERM

term is applied more particularly to a story in which the actors or speakers are taken from the See also:

• BRUTE, SIMON WILLIAM GABRIEL (1779–1839)

brute creation or inanimate nature . An See also:

• APOLOGUE (from the Gr. &rroXoyos, a statement or account)

apologue is distinguished from a fable in that there is always some moral sense See also:

• PRESENT

present, which there need not be in a fable . It is generally dramatic, and has been defined as " a See also:

• SATIRE (Lat. satira, satura; see below)

satire in See also:

• ACTION

action." It differs from a See also:

• PARABLE (Gr. 7apa(3oXi7, a comparison or similitude)

parable in several respects . A parable is equally an ingenious See also:

• TALE (O.Eng. talu, number, account, story; the word is common to many Teutonic languages; cf. Ger. Zahl, number, Erzahlung, narrative, Du. taal, speech, language)

tale intended to correct See also:

• MANNERS, CHARLES (1857– )

manners, but it can be true, while an apologue, with its introduction of animals and See also:

• PLANTS

plants, to which it lends our ideas and See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language and emotions, is necessarily devoid of real truth, and even of all See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability . The parable reaches heights to which the apologue cannot aspire, for the points in which brutes and inanimate nature present analogies to See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man are principally those of his See also:

• LOWER

lower nature, and the lessons taught by the apologue seldom therefore reach beyond prudentialmorality, whereas the parable aims at representing the relations between man and See also:

• GOD

God . It finds its framework in the See also:

• WORLD

world of nature as it actually is, and not in any See also:

• GROTESQUE

grotesque See also:

• PARODY (Gr. s-apybia, literally a song sung beside, a comic parallel)

parody of it, and it exhibits real and not fanciful analogies . The apologue seizes on that which man has in See also:

• COMMON

common with creatures below him, and the parable on that which he has in common with God . Still, in spite of the difference of moral level, See also:

• MARTIN (Martinus)
• MARTIN, BON LOUIS HENRI (1810-1883)
• MARTIN, CLAUD (1735-1800)
• MARTIN, FRANCOIS XAVIER (1762-1846)
• MARTIN, HOMER DODGE (1836-1897)
• MARTIN, JOHN (1789-1854)
• MARTIN, LUTHER (1748-1826)
• MARTIN, SIR THEODORE (1816-1909)
• MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
• MARTIN, ST (c. 316-400)
• MARTIN, WILLIAM (1767-1810)

Martin See also:

• LUTHER, MARTIN (1483-1546)

Luther thought so highly of apologues as counsellors of virtue that he edited and revised Aesop and wrote a characteristic See also:

• PREFACE (Med. Lat. prefatia, for classical praefatio, praefari, to speak beforehand)

preface to the See also:

• VOLUME

volume . The origin of the apologue is extremely See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient and comes from the See also:

• EAST
• EAST, ALFRED (1849- )

East, which is the natural fatherland of everything connected with See also:

• ALLEGORY (iXXos, other, and ayopeuav, to speak)

allegory, See also:

• METAPHOR

metaphor and See also:

• IMAGINATION

imagination .

Veiled truth was often necessary in the East, particularly with the slaves, who dared not reveal their minds too openly . It is noteworthy that the two fathers of apologue in the See also:

• WEST
• WEST, BENJAMIN (1738-1820)
• WEST, NICHOLAS (1461-1533)

West were slaves, namely Aesop and See also:

• PHAEDRUS

Phaedrus . La See also:

• FONTAINE, PIERRE FRANCOIS LEONARD (1762-1853)

Fontaine in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France; See also:

• GAY, JOHN (1685-1732)
• GAY, MARIE FRANCOISE SOPHIE (1776-1852)
• GAY, WALTER (1856– )

Gay and See also:

• DODSLEY, ROBERT (1703-1764)

Dodsley in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England; See also:

• GELLERT, CHRISTIAN FURCHTEGOTT (1715-1769)
• GELLERT, or KILLHART

Gellert, See also:

• LESSING, GOTTHOLD EPHRAIM (1729–1781)

Lessing and See also:

• HAGEDORN, FRIEDRICH VON (1708-1754)

Hagedorn in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany; Tomas de See also:

• IRIARTE (or YRIARTE) Y OROPESA, TOMAS DE (1750-1791)

Iriarte in See also:

• SPAIN
• SPAIN (Espana)

Spain, and Krilov in See also:

• RUSSIA
• RUSSIA (Rossiya)

Russia, are leading See also:

• MODERN

modern writers of apologues . Length is not an essential See also:

• MATTER

matter in the See also:

• DEFINITION (Lat. definitio, from de-finire, to set limits to, describe)

definition of an apologue . Those of La Fontaine are often very short, as, for example, " Le Coque et la Perle." On the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, in the romances of Reynard the See also:

• FOX
• FOX, C
• FOX, CHARLES JAMES (1749-1806)
• FOX, EDWARD (c. 1496-1538)
• FOX, GEORGE (1624-1691)
• FOX, RICHARD (c. 1448-1528)
• FOX, ROBERT WERE (1789—1877)
• FOX, SIR STEPHEN (1627–1716)
• FOX, SIR WILLIAM (1812-1893)

Fox we have See also:

• MEDIEVAL

medieval apologues arranged in cycles, and attaining epical dimensions . An See also:

• ITALIAN

Italian fabulist, See also:

• CORTI, LODOVICO, COUNT (1823–1888)

Corti, is said to have See also:

• DEVELOPED

developed an apologue of " The Talking Animals " to the bulk of twenty-six cantos . La Motte, See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing at a See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time when this See also:

• SPECIES

species of literature was universally admired, attributes its popularity to the fact that it See also:

• MENAGE, GILLES (1613-1692)

menage et flatte l'amour-propre by inculcating virtue in an amusing manner without seeming to dictate or insist . This was the See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary 18th-See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century view of the matter, but See also:

• ROUSSEAU, JACQUES (1633-1693)
• ROUSSEAU, JEAN BAPTISTE (1671-1741)
• ROUSSEAU, JEAN JACQUES (1712-1778)
• ROUSSEAU, PIERRE ETIENNE THEODORE (1812–1867); French painter of the Barbizon school, was born in Paris on the 15th of April 1812, of a bourgeois family which included one or two artists. At first he received a business training, but soon displayed aptitu

Rousseau contested the educational value of instruction given in this indirect See also:

• FORM (Lat. forma)

form . A See also:

• WORK

work by P . Soulle, La Fontaine et ses devanciers (1866), is a See also:

• HISTORY

history of the apologue from the earliest times until its final See also:

• TRIUMPH (triumphus)

triumph in France .