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This are a list of those fables attributed to the ancient Greek storyteller, Aesop, or stories about him, which have been in many Wikipedia articles. Many hundreds of others have been collected his creation of fables over the centuries, as described on the Aesopica website. [1]
The subject of each of the Fables is often common property of many ages and races. What gives La Fontaine's Fables their rare distinction is the freshness in narration, the deftness of touch, the unconstrained suppleness of metrical structure, the unfailing humor of the pointed moral, the consummate art of their apparent artlessness. Keen ...
In his retelling of the story, Lydgate had drawn the lesson that the one "Who all coveteth, oft he loseth all", [18] He stated as well that this was "an olde proverb" [19] which, indeed, in the form "All covet, all lose", was later to be quoted as the fable's moral by Roger L'Estrange. [20]
Jules-Joseph Lefebvre, The Grasshopper (1872), National Gallery of Victoria, Australia. Because of the influence of La Fontaine's Fables, in which La cigale et la fourmi stands at the beginning, the grasshopper then became the proverbial example of improvidence in France: so much so that Jules-Joseph Lefebvre (1836–1911) could paint a picture of a female nude biting one of her nails among ...
They were told with the didactic intent of drawing moral lessons which could be either secular or spiritual. Many different versions of the stories were created but writers frequently followed understood conventions. One such convention was the inclusion of the didactic moral lesson in a moralitas (plural moralitates) inserted after the fable ...
The moral drawn from the fable by Babrius was that "Brotherly love is the greatest good in life and often lifts the humble higher". In his emblem book Hecatomgraphie (1540), Gilles Corrozet reflected on it that if there can be friendship among strangers, it is even more of a necessity among family members. [4]
The story of the tortoise and the birds appears in a section illustrating the sentiment that 'a man hath no greater enemy than himself'. The French fabulist Jean de la Fontaine also found the story in an early digest of Bidpai's work and added it to his fables as La Tortue et les deux Canards (X.3). For him the story illustrates human vanity ...
The fable was a favourite in England and was put to popular use on 18th century china by the Fenton pottery [13] and in the 19th century by the Wedgwood pottery. This was on its Aesop series of coloured plates, signed by Emile Lessore in the 1860s. [14] Minton's pottery also used the fable on a series of Aesop tiles a little later.