See also:

• FABLE (Fr. fable, Lat. fabula)

FABLE (Fr. fable, See also:

• LAT

Lat. fabula)  . With certain restrictions, the See also:

• NECESSITY (Lat. necessitas)

necessity of which will be shown in the course of the See also:

• ARTICLE (from Lat. articulus, a joint)

article, we may accept the See also:

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

definition of " See also:

• FABLE (Fr. fable, Lat. fabula)

fable " which Dr See also:

• JOHNSON, ANDREW
• JOHNSON, ANDREW (1808–1875)
• JOHNSON, BENJAMIN (c. 1665-1742)
• JOHNSON, EASTMAN (1824–1906)
• JOHNSON, REVERDY (1796–1876)
• JOHNSON, RICHARD (1573–1659 ?)
• JOHNSON, RICHARD MENTOR (1781–1850)
• JOHNSON, SAMUEL (1709-1784)
• JOHNSON, SIR THOMAS (1664-1729)
• JOHNSON, SIR WILLIAM (1715–1774)
• JOHNSON, THOMAS

Johnson See also:

• PRO

pro-poses in his See also:

• LIFE

Life of See also:

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

Gay: " A fable or See also:

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

apologue seems to be, in its genuine See also:

• STATE
• STATE, GREAT OFFICERS OF

state, a narrative in which beings irrational, and some-times inanimate (arbores loquuntur, non tantum ferae) , are, for the purpose of moral instruction, feigned to See also:

• ACT (Lat. actus, actum)

act and speak with human interests and passions." The description of La See also:

• FONTAINE, PIERRE FRANCOIS LEONARD (1762-1853)

Fontaine, the greatest of fabulists, is a poetic rendering of Johnson's definition: " Fables in sooth are not what they appear; Our moralists are mice, and such small See also:

• DEER (O. E. rigor, dfor, a common Teutonic word, meaning a wild animal, cf. Ger. Tier, Du. dier, &c., probably from a root dhus-, to breathe)
• DEER, CHINESE

deer . We yawn at sermons, but we gladly turn To moral tales, and so amused we learn." The fable is distinguished from the myth, which grows and is not made, the spontaneous and unconscious product of See also:

• PRIMITIVE

primitive See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy as it plays See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round some phenomenon of natural or See also:

• HISTORICAL

historical fact . The See also:

• LITERARY

literary myth, such as, for instance, the See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

legend of See also:

• PANDORA (the " All-giving ")

Pandora in See also:

• HESIOD

Hesiod or the 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 of Er in the See also:

• REPUBLIC (Lat. respublica, a commonweal or common-wealth)

Republic of See also:

• PLATO

Plato, is really an See also:

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

allegory, and differs from the fable in so far as it is self-interpreting; the See also:

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

story and the moral are intermingled throughout . Between the See also:

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

parable and the fable there is no clear See also:

• LINE

line of demarcation, and theologians like See also:

• TRENCH, RICHARD CHENEVIX (1807-1886)

Trench have unwarrantably narrowed their definition of a parable to See also:

• FIT

fit those of the New Testament . The soundest distinction is See also:

• DRAWN

drawn by See also:

• NEANDER, JOACHIM (1650–1680)
• NEANDER, JOHANN AUGUST WILHELM (1789-1850)

Neander . In the fable human passions and actions are attributed to beasts; in the parable the See also:

• LOWER

lower creation is employed only to illustrate the higher life and never transgresses the See also:

• LAWS

laws of its See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind . But whether Jotham's apologue of the trees choosing a See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king, perhaps the first recorded in literature, should be classed as a fable or a parable is hardly See also:

• WORTH
• WORTH, CHARLES FREDERICK (1825-1895)

worth disputing . Lastly, we may point out the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close See also:

• AFFINITY (Lat. affinitas, relationship by marriage, from offinis, bordering on, related to; finis, border, boundary)
• AFFINITY, CHEMICAL

affinity between the fable and the See also:

• PROVERB (Lat. proverbium, from pro, forth, publicly, verbum, word; the Greek equivalent is irapolµia, from 7rapa, alongside, and oiµos, way, road, i.e. a wayside saying; Ger. Sprichwort)

proverb . A proverb is often a condensed or fossilized fable, and not a few fables are amplified or elaborated See also:

• PROVERBS, BOOK OF (Heb. Mishle Slzelomoh, " Proverbs of Solomon," abridged by the later Jews to Mishle; Septuagint, irapotpiai or II. EaX.; Lat. Vulg. Parabolae sal. and Liber proverbiorum)

proverbs . The See also:

• HISTORY

history of the fable goes back to the remotest antiquity, and See also:

• AESOP (Gr. Aivwvros)

Aesop has even less claim to be reckoned the See also:

• FATHER

father of the fable than has See also:

• HOMER, WINSLOW (1836-191o)

Homer to be entitled the father of See also:

• POETRY

poetry . The fable has its origin in the universal impulse of men to See also:

• EXPRESS (through the French from the past participle of the Lat. exprimere, to press out, by transference used of representing objects in painting or sculpture, or of thoughts, &c. in words)

express their thoughts in See also:

• CONCRETE
• CONCRETE (Lat. concretes, participle of concrescere, to grow together)

concrete images, and is strictly parallel to the use of See also:

• METAPHOR

metaphor in See also:

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

language .

It is the most widely diffused if not the most primitive See also:

• FORM (Lat. forma)

form of literature . Though it has fallen from its high See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place it still survives, as in J . See also:

• CHANDLER, HENRY WILLIAM (1828-1889)
• CHANDLER, RICHARD (1738-1810)
• CHANDLER, SAMUEL (1693-1766)
• CHANDLER, ZACHARIAH (1813-1879)

Chandler See also:

• HARRIS, GEORGE, 1ST BARON (1746–1829)
• HARRIS, JAMES (1709-1780)
• HARRIS, JOEL CHANDLER (1848-1908)
• HARRIS, JOHN (c. 1666-1719)
• HARRIS, SIR WILLIAM SNOW
• HARRIS, THOMAS LAKE (1823-1906)
• HARRIS, WILLIAM TORREY (1835-1909)

Harris's See also:

• UNCLE

Uncle Remus and Rudyard See also:

• KIPLING, RUDYARD (1865— )

Kipling's See also:

• JUNGLE (Sans. jangala)

Jungle See also:

• BOOK

Book . The Arab of to-See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day will invent a fable at every turn of the conversation as the readiest form of See also:

• ARGUMENT

argument, and in the Life of See also:

• COVENTRY, SIR JOHN (d. 1682)
• COVENTRY, SIR WILLIAM (c. 1628-1686)
• COVENTRY, THOMAS COVENTRY, 1ST BARON (2578–1640)

Coventry See also:

• PATMORE, COVENTRY KERSEY DIGHTON (1823-1896)

Patmore it is told how an See also:

• IMPROMPTU (from in promptu, on the spur of the moment)

impromptu fable of his about the pious See also:

• DORMOUSE
• DORMOUSE (a word usually taken to be connected with Lat. dormire, to sleep, with " mouse " added, cf. Germ. Schlafratte; it is not a corruption of Fr. dormeuse; Skeat suggests a connexion with Icel. (Mr, benumbed, cf. Eng. " doze ")

dormouse found its way into See also:

• CATHOLIC (Gr. KcaBoXuK6s, general, universal)

Catholic books of devotion . With the fable, as we know it, the moral is indispensable . As La Fontaine puts it, an apologue is composed of two parts, See also:

• BODY

body and soul . The body is the story, the soul the morality . But if we revert to the earliest type we shall find that this is no longer the See also:

• CASE
• CASE, JOHN (d. 1600)

case . In the primitive beast-fable, which is the See also:

• DIRECT

direct progenitor of the Aesopian fable, the story is told simply for its own See also:

• SAKE

sake, and is as See also:

• INNOCENT (INNOCENTIUS)
• INNOCENT (POPES)

innocent of any moral as the See also:

• FAIRY (Fr. fee, faerie; Prov. facia; Sp. hada; Ital. fata; med. Lat. fatare, to enchant, from Lat. fatum, fate, destiny)

fairy tales of Little Red See also:

• RIDING

Riding-See also:

• HOOD,
• HOOD, JOHN BELL (1831–1879)
• HOOD, SAMUEL HOOD, VISCOUNT (1724–1816)
• HOOD, SIR SAMUEL (1762-1814)
• HOOD, THOMAS (1799-1845)
• HOOD, TOM (1835–1874)

Hood and See also:

• JACK

Jack and the Beanstalk . Thus, in a legend of the Flathead See also:

• INDIANS, NORTH AMERICAN

Indians, the Little See also:

• WOLF
• WOLF (Canis lupus)
• WOLF, FRIEDRICH AUGUST (1759-1824)
• WOLF, HUGO (1860-1903)
• WOLF, JOSEPH (1820-1899)

Wolf found in See also:

• CLOUD (from the same root, if not the same word, as " clod," a word common in various forms to Teutonic languages for a mass or lump; it is first applied in the usual sense in the late 13th century; the Anglo-Saxon chid is only used in the sense of " a ma

cloud-See also:

• LAND

land his grandsires the See also:

• SPIDERS

Spiders with their grizzled See also:

• HAIR (a word common to Teutonic languages)

hair and See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long crooked nails, and they spun balls of See also:

• THREAD (0. Eng. praed, literally, that which is twisted, prawan, to twist, to throw, cf. " throwster," a silk-winder, Ger. drehen, to twist, turn, Du. draad, Ger. Draht, thread, wire)

thread to let him down to See also:

• EARTH
• EARTH (a word common to Teutonic languages, cf. Ger. Erde, Dutch aarde, Swed. and Dan. jord; outside Teutonic it appears only in the Gr. 'pq'e, on the ground; it has been connected by some etymologists with the Aryan root ar-, to plough, which is seen in
• EARTH, FIGURE OF
• EARTH, FIGURE OF THE

earth; when he came down and found his wife the Speckled See also:

• DUCK

Duck, whom the Old Wolf had taken from him, she fled in See also:

• CON

con-See also:

• FUSION

fusion, and this is why she lives and dives alone to this very day . Such See also:

• ANIMAL
• ANIMAL (Lat. animalis, from anima, breath, soul)

animal myths are as See also:

• COMMON

common in the New See also:

• WORLD

World as in the Old, and abound from See also:

• FINLAND (Finnish, Suomi or Suomenmaa)

Finland and Kamtchatka to the See also:

• HOTTENTOTS

Hottentots and Australasians . From the story invented, as the one above quoted, to See also:

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

account for some peculiarity of the animal world, or told as a pure exercise of the See also:

• IMAGINATION

imagination, just as a sailor spins a See also:

• YARN

yarn about the See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

sea-See also:

• SERPENT (Lat. serpens, creeping, from serpere; cf. "reptile " from repere, Gr.4 ml-eta)

serpent, to the moral apologue the transition is easy; and that it has been effected by savages unaided by the example of higher races seems sufficiently proved by the tales quoted by E .

B . See also:

• TYLOR, EDWARD BURNETT (1832- )

Tylor (Primitive Culture, vol. i. p . 411) . From the beast-fables of savages we come next to the See also:

• ORIENTAL

Oriental apologues, which we still possess in their See also:

• ORIGINAL

original form . The See also:

• EAST
• EAST, ALFRED (1849- )

East, the land of myth and legend, is the natural See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home of the fable, and Hindustan was the birthplace, if not of the original of these tales, at least of the See also:

• OLDEST

oldest shape in which they still exist . The Pancha Tantra (2nd See also:

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

century B.c.), or fables of the Brahma See also:

• VISHNU (Sanskrit, " the worker," from root vish, "to work ")

Vishnu Sarman, have been translated from See also:

• SANSKRIT

Sanskrit into almost every language and adapted by most See also:

• MODERN

modern fabulists . The Kalilah and Dimna (names of two jackals), or fables of See also:

• BIDPAI (or PILPAY), FABLES OF

Bidpai (or Pilpai), passed from See also:

• INDIA
• INDIA, FRENCH

India to western See also:

• EUROPE

Europe through the successive stages of See also:

• PAHLAVI, or PEHLEVI

Pahlavi (See also:

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

ancient See also:

• PERSIAN
• PERSIAN, SYRIAN, EGYPTIAN AND TURKISH

Persian), Arabic, See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek, Latin . By the end of the 16th century there were See also:

• ITALIAN

Italian, See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French and See also:

• ENGLISH

English versions . There is an excellent Arabic edition (See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1816) with an introduction by Sylvestre de Sacy . The Hitopadesa, or " friendly instruction," is a modernized form of the same See also:

• WORK

work, and of it there are three See also:

• TRANSLATIONS

translations into English by Dr See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles See also:

• WILKINS, GEORGE (ii. 1607)
• WILKINS, JOHN (1614-1672)
• WILKINS, MARY ELEANOR (1862– )
• WILKINS, SIR CHARLES (1749?-1836)

Wilkins, See also:

• SIR

Sir See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• JONES
• JONES, ALFRED GILPIN (1824-1906)
• JONES, EBENEZER (182o-186o)
• JONES, ERNEST CHARLES (1819-1869)
• JONES, HENRY (1831-1899)
• JONES, HENRY ARTHUR (1851- )
• JONES, INIGO (1573-1651)
• JONES, JOHN (c. 1800-1882)
• JONES, MICHAEL (d. 1649)
• JONES, OWEN (1741-1814)
• JONES, OWEN (1809-1874)
• JONES, RICHARD (179o-1855)
• JONES, SIR ALFRED LEWIS (1845-1909)
• JONES, SIR WILLIAM (1746-1794)
• JONES, THOMAS RUPERT (1819– )
• JONES, WILLIAM (1726-1800)

Jones and See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

Professor F . Johnson . The Hitopadesa is a See also:

• COMPLETE

complete chaplet of fables loosely strung together, but connected so as to form something of a continuous story, with moral reflections freely interspersed, purporting to be written for the instruction of some dissolute See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young princes .

Thus, in the first fable a See also:

• FLOCK

flock of pigeons see the grains of See also:

• RICE (Greek 6p6 a, Latin oryza, French riz, Italian riso, Spanish arroz, derived from the Arabic)
• RICE, EDMUND IGNATIUS (1762-1844)
• RICE, JAMES (1843-1882)

rice which a See also:

• FOWLER, CHARLES (1792-1867)
• FOWLER, EDWARD (1632-1714)
• FOWLER, JOHN (1826-1864)
• FOWLER, SIR JOHN (1817-1898)
• FOWLER, WILLIAM (c. 156o-1614)

fowler has scattered, and are about to descend on them, when the king of the pigeons warns them by telling the fable of a traveller who being greedy of a See also:

• BRACELET, or ARMLET

bracelet was devoured by a See also:

• TIGER
• TIGER (Felis tigris)

tiger . They neglect his warning and are caught in the See also:

• NET

net, but are afterwards delivered by the king of the mice, who tells the story of the Deer, the See also:

• JACKAL
• JACKAL (Turk. chakal)

Jackal and the See also:

• CROW (Dutch, kraal, Ger. Krdhe, Fr. corbeau, Lat. corvus)

Crow, to show that no real friendship can exist between the strong and the weak, the beast of See also:

• PREY (0. Fr. preie, mod. proie, Lat. praeda, booty, from prae and the root hed—seen in prehendere, prendere, to grasp)

prey and his See also:

• QUARRY

quarry, and so on to the end of the See also:

• VOLUME

volume . Another book of Eastern fables is well worthy of See also:

• NOTICE

notice, Buddhaghosha's Parables, a commentary on the Dhammapada or See also:

• BUDDHA

Buddha's Paths of Virtue . The original is in See also:

• PALI

Pali, but an English See also:

• TRANSLATION

translation of the Burmese version was made by See also:

• CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

Captain T . See also:

• ROGERS, HENRY DARWIN (18o8—1866)
• ROGERS, JAMES EDWIN THOROLD (1823-1890)
• ROGERS, JOHN (1627–c. 1665)
• ROGERS, JOHN (1829-1904)
• ROGERS, JOHN (c. 1500-1555)
• ROGERS, ROBERT (1727-1784?)
• ROGERS, S
• ROGERS, SAMUEL (1763-1855)
• ROGERS, WILLIAM (1819-1896)

Rogers, R.E . From Hindustan the Sanskrit fables passed to See also:

• CHINA

China, See also:

• TIBET, or THIBET

Tibet and See also:

• PERSIA

Persia; and they must have reached See also:

• GREECE

Greece at an See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age, for many of the fables which passed under the name of Aesop are identical with those of the East . Aesop to us is little more than a name, though, if we may See also:

• TRUST

trust a passing notice in See also:

• HERODOTUS (c. 484-425 B.C.)

Herodotus (ii . 134), he must have lived in the 6th century B.C . Probably his fables were never written down, though several are ascribed to him by See also:

• XENOPHON

Xenophon, See also:

• ARISTOTLE
• ARISTOTLE (384-322 B.C.)

Aristotle, See also:

• PLUTARCH
• PLUTARCH (Gr. llXoi rapxos) (c. A.D. 46–120)

Plutarch and other Greek writers, and Plato represents See also:

• SOCRATES

Socrates as beguiling his last days by versifying such as he remembered . See also:

• ARISTOPHANES
• ARISTOPHANES (c. 448–385 B.e.1)

Aristophanes alludes to them as merry tales, and Plato, while excluding the poets from his ideal republic, admits Aesop as a moral teacher . Of the various versions of Aesop's Fables, by far the most trustworthy is that of See also:

• BABRIUS

Babrius or Babrias, a Greek probably of the 3rd century A.D., who rendered them in choliambic See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse . These, which were long known in fragments only, were recovered in a MS. found by M .

See also:

• MINAS [MINOIDES] (c. 1790-186o)

Minas in a monastery on See also:

• MOUNT, WILLIAM SIDNEY (1807-1868)

Mount See also:

• ATHOS (Gr. "Aytov "Opos; Turk. Aineros; Ital. Monte Santo)

Athos in 1842, now in the See also:

• BRITISH

British Museum.' An inferior version of the same in Latin iambics was made by See also:

• PHAEDRUS

Phaedrus, a slave of Thracian origin, brought to See also:

• ROME
• ROME (Roma)

Rome in the 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 of See also:

• AUGUSTUS (a name 1 derived from Lat. augeo, increase, i.e. venerable, majestic, Gr. Ee0avr6s)

Augustus and manumitted by him . Phaedrus professes to See also:

• POLISH

polish in senarian verse the rough-hewn blocks from Aesop's quarry; but the numerous allusions to contemporary events, as, for example, his See also:

• HIT

hit at See also:

• SEJANUS, LUCIUS AELIUS

Sejanus in the Frogs and the See also:

• SUN
• SUN (0. Eng. sonne, Ger. sonne. Fr. soleil, Lat. sol, Gr. ijXior, from which comes helio- in various English compounds)

Sun, which brought upon the author disgrace and imprisonment, show that many of them are original or See also:

• FREE

free adaptations . For some time scholars doubted as to the genuineness of Phaedrus's fables, but their doubts have been lately dispelled by a closer examination of the See also:

• MSS

MSS. and by the See also:

• DISCOVERY

discovery of two verses of a fable on a See also:

• TOMB (Gr. Tuµ/3a, Tuµ(3os, probably allied to Lat. tumulus, literally a swelling, tumere, to swell)

tomb at Apulum in See also:

• DACIA

Dacia . Phaedrus's See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style is See also:

• SIMPLE

simple, clear and brief, but dry and unpoetical; and, as See also:

• LESSING, GOTTHOLD EPHRAIM (1729–1781)

Lessing has pointed out, he often falls into absurdities when he deserts his original . For instance, in Aesop the See also:

• DOG

dog with the See also:

• MEAT

meat in his mouth See also:

• SEES

sees his reflection in the See also:

• WATER

water as he passes over a See also:

• BRIDGE

bridge; Phaedrus makes him see it as he swims across the See also:

• RIVER

river . - To sum up the characteristics of the Aesopian fable, it is artless, simple and transparent . It affects no See also:

• GRACES, THE, (Gr. X&panes, Lat. Gratiae)

graces of style, and we hardly need the See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text with which each concludes, o µuOos I1Xo' 6n, K.T.X . The moral inculcated is that of Proverbial See also:

• PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

Philosophy and Poor See also:

• RICHARD
• RICHARD (d. 1184)
• RICHARD, FRANCOIS MARIE BENJAMIN (18,9-1908)
• RICHARD, HENRY (1812-1888)
• RICHARD, ST

Richard's Almanacks . Aesop is no maker of phrases, but an orator who wishes to gain some point or induce some course of See also:

• ACTION

action . It is the Aesopian type that Aristotle has in view when he treats of the fable as a See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch of See also:

• RHETORIC (Gr. psroperctj TEXvq, the art of the orator)

rhetoric, not of poetry . The Latin See also:

• RACE

race was given to moralizing, and the language See also:

• LENT (0. Eng. lenclen, " spring," M. Eng. lenten, lente, lent; cf. Dut. lente, Ger. Lenz, " spring," 0. H. Ger. lenzin, lengizin, lenzo, probably from the same root as " long " and referring to " the lengthening days ")

lent itself to crisp and pointed narrative, but they lacked the free See also:

• PLAY

play of fancy, the childlike " make-believe," to produce a See also:

• NATIONAL

national body of fables . With the doubtful exception of Phaedrus, we possess nothing but solitary examples, such as the famous apologue of Menenius See also:

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

Agrippa to the See also:

• PLEBS (from the root seen in Lat. plenus, full; cf. Gr. 7rXit9os)

Plebs and the exquisite See also:

• TOWN

Town See also:

• MOUSE

Mouse and See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

Country Mouse of See also:

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

Horace's Satires .

The fables of the rhetorician See also:

• APHTHONIUS
• APHTHONIUS, AELIUS

Aphthonius about A.D . 400 in Greek See also:

• PROSE

prose, and those in Latin elegiac verse by See also:

• AVIANUS

Avianus, used for centuries as a text-book in See also:

• SCHOOLS

schools, form in the history of the apologue a See also:

• LINK

link between classical and See also:

• MEDIEVAL

medieval times . In a Latin See also:

• DRESS (from the Fr. dresser, to set out, arrange, formed from Lat. directus, arranged, dirigere, to direct, arrange)

dress, sometimes in prose, sometimes in See also:

• REGULAR

regular verse, and sometimes in rhymed stanzas, the fable contributed, with other kinds of narratives, to make up the huge See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

mass of stories which has been bequeathed to us by the monastic See also:

• LIBRARIES

libraries . These served more uses than one . They were at once easier and safer See also:

• READING

reading than the See also:

• CLASSICS

classics . To the lazy See also:

• MONK (O.Eng. munuc; this with the Teutonic forms, e.g. Du. monnik, Ger. Witch, and the Romanic, e.g. Fr. moine, Ital. monacho and Span. monje, are from the Lat. monachus, adaptedfrom Gr. µovaXos, one living alone, a solitary; Own, alone)
• MONK (or MONCK), GEORGE
• MONK, JAMES HENRY (1784-1856)
• MONK, MARIA (c. 1817—1850)

monk they stood in place of novels; to the more industrious and gifted they furnished an exercise on a See also:

• PAR (Lat. par, equal)

par with Latin verse See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition in our public schools; the more original transformed them into fabliaux, or embodied them in edifying stories, as in the Gesta Romanorum . It is not in the See also:

• SPECULUM

Speculum Doctrinale of See also:

• VINCENT (or VINCENTIUS), ST
• VINCENT, GEORGE (1796-1831?)
• VINCENT, MARY ANN (1818-1887)

Vincent de See also:

• BEAUVAIS

Beauvais, a Dominican of the 12th century, nor in the collection of his contemporary See also:

• ODO

Odo de Cerinton, an English Cistercian, nor in See also:

• PLANUDES, MAXIMUS (c. 1260-1330)

Planudes of the 14th century, whose one distinction is to have added to the fables a life of Aesop, that the direct lineage of La Fontaine must be traced . It is the fabliaux that inspired some of his best fables—the See also:

• LION
• LION (Lat, leo, leonis; Gr. Mew)

Lion's See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

Court, the Young Widow, the See also:

• COACH (through the Fr. coche, originally from the Magyar kocsi, an adjective from the Hungarian place named Kocs, between Raab and Buda, i.e. the sort of vehicle used there in the 15th century)

Coach and the See also:

• FLY (formed on the root of the supposed original Tent. fleugan, to fly)

Fly . As the supremacy of Latin declined and modern See also:

• LANGUAGES

languages began to he turned to literary uses, the fable took a new life . Not only were there numerous adaptations of Aesop, known as Ysopets, but See also:

• MARIE

Marie de See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France in the 13th century composed many original fables, some rivalling La Fontaine's in simplicity and gracefulness . Later, also, fables were not wanting, though not numerous, in the English See also:

• TONGUE (O. Eng. lunge)

tongue . See also:

• CHAUCER, GEOFFREY (? 1340-1400)

Chaucer has given us one, in his Nonne Preste's Tale, which is an expansion of the fable See also:

• DON
• DON (anc. Tanais)

Don Coc et don IVerpil of Marie de France; another is See also:

• LYDGATE, JOHN (c. 1370–c. 1451)

Lydgate's tale of The See also:

• CHURL (A.S. ceorl, cognate with the Ger. Kerl and with similar words in other Teutonic languages)

Churl and the See also:

• BIRD

Bird .

Several of Odo's tales, like Chaucer's story, can be ultimately ' M . Minas professed to have discovered under the same circumstances another collection of ninety-four fables by Babrius . This second See also:

• PART

part was accepted by Sir G . C . See also:

• LEWIS, HENRY CARVILL
• LEWIS, JOHN FREDERICK (180 1876)
• LEWIS, MATTHEW GREGORY (1775-1818)
• LEWIS, MERIWETHER (1774-1809)
• LEWIS, SIR GEORGE CORNEWALL, BART

Lewis, but J . See also:

• CONINGTON, JOHN (1825—1869)

Conington conclusively proved it See also:

• SPURIOUS

spurious, and probably a See also:

• FORGERY (derived through the French from Latin fabricare, to construct)

forgery .